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DOI Artikel:Miziołek, Jerzy: The story of Antiochus and Stratonice by a pupil of Jacques-Louis David: the painting by Józef Oleszkiewicz in the Lithuanian Art Museum in Vilnius
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18948#0143
10. Etienre Lochę,
The Story ofAntiochus
and Stratonice,
liłogrophy based
on the painting by
Girodet-Trioson,
ca. 1827; Paris,
private collection
and the fact that he owned the previously mentioned study by Girodet.48 49 In
1801, Ingres madę the first, little known, drawing (Musee du Chateau,
Boulogne-sur-Mer, ill. 11), and six years later another, freąuently reproduced
drawing, in the Louvre (ill. 12).44 In both cases, the scene consists of four
persons. Apart from Antiochus, Stratonice and the physician, in the first
picture we see a seated woman, difficult to identify, while in the second the
desperate father is portrayed. Both drawings depict that moment in the story
when the physician, putting his hand on the love-sick young man’s heart,
guesses the reason for his lack of will to live. On Girodet’s drawings, which
Ingres most probably took as a model, the physician is about to discover the
truth while here he has already done it, which is proved by his gazę toward
the object of Antiochus’ love.
As may be surmised, Oleszkiewicz may have seen several large canvases
depicting the story of Antiochus and Stratonice during his studies in Paris as
well as probably some of the above-mentioned drawings. In the light of all
these representations, it is easy to identify the persons on the painting from
the Lithuanian Art Museum in Yilnius. The bald-headed old man supporting
48 Bellenger, op. cit., pp. 45-47 and ill. on pp. 46 and 47.
49 Cf. also The Age of Neo-Classicism, The Fourteenth Exhibition of the Council of Europę, The
Royal Academy and the Victoria & Albert Museum, London, 9 September-19 November 1972,
London 1972, no 653 and tab. 83, with earlier bibliography.
137
The Story ofAntiochus
and Stratonice,
liłogrophy based
on the painting by
Girodet-Trioson,
ca. 1827; Paris,
private collection
and the fact that he owned the previously mentioned study by Girodet.48 49 In
1801, Ingres madę the first, little known, drawing (Musee du Chateau,
Boulogne-sur-Mer, ill. 11), and six years later another, freąuently reproduced
drawing, in the Louvre (ill. 12).44 In both cases, the scene consists of four
persons. Apart from Antiochus, Stratonice and the physician, in the first
picture we see a seated woman, difficult to identify, while in the second the
desperate father is portrayed. Both drawings depict that moment in the story
when the physician, putting his hand on the love-sick young man’s heart,
guesses the reason for his lack of will to live. On Girodet’s drawings, which
Ingres most probably took as a model, the physician is about to discover the
truth while here he has already done it, which is proved by his gazę toward
the object of Antiochus’ love.
As may be surmised, Oleszkiewicz may have seen several large canvases
depicting the story of Antiochus and Stratonice during his studies in Paris as
well as probably some of the above-mentioned drawings. In the light of all
these representations, it is easy to identify the persons on the painting from
the Lithuanian Art Museum in Yilnius. The bald-headed old man supporting
48 Bellenger, op. cit., pp. 45-47 and ill. on pp. 46 and 47.
49 Cf. also The Age of Neo-Classicism, The Fourteenth Exhibition of the Council of Europę, The
Royal Academy and the Victoria & Albert Museum, London, 9 September-19 November 1972,
London 1972, no 653 and tab. 83, with earlier bibliography.
137