DOI Heft:
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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#0144
Antiochus is Erasistratus, the woman in green robes standing behind him is
probably his wife (mentioned, as we remember, in dialogue between Seleucus
and the physician after the latter had discovered the reason of the young man’s
illness), the bearded man in the red robę approaching the young man, as if
confused, and the woman in white are Seleucus and Stratonice. In a short while
the right hand of the latter will be joined with the left hand of the gaunt
Antiochus sitting on the bed.
Finally, it should be noted that in spite of his obvious fascination with David
and other French classicists Oleszkiewicz did not imitate the previously
mentioned works of the French masters while working on his painting. The
artist created an intriguing, highly original representation of the theme,
abiding the rules of maturę classicism employed by his Parisian master and his
foremost students. If one were to search for 01eszkiewicz’s references to the
paintings mentioned in this study, one could point to some analogy with
Guillemoks canvas completed in 1808, started before Oleszkiewicz left Paris
in 1806. The similarity is limited only to the representation of the young man,
supported by the man behind him: in the French painting he is an unidentified
person while 01eszkiewicz’s canvas it is the physician himself. However,
Guillemot did not depict the scene of Seleucus giving his wife to his son, as
did Oleszkiewicz, but the moment when Antiochus’ illness had been
discovered. It should be added that both the robes and the posturę of Stratonice
remind the wife of hetman Chodkiewicz in the previously mentioned canvas
by Oleszkiewicz Parting of Hetman Jan Karol Chodkiewicz with his Wife before
11. Jean Dominique
Ingres, The Story of
Antiochus and Stratonice,
ca. 1806, drawing,
Boulogne-sur-Mer,
Musee du Chateau
138
probably his wife (mentioned, as we remember, in dialogue between Seleucus
and the physician after the latter had discovered the reason of the young man’s
illness), the bearded man in the red robę approaching the young man, as if
confused, and the woman in white are Seleucus and Stratonice. In a short while
the right hand of the latter will be joined with the left hand of the gaunt
Antiochus sitting on the bed.
Finally, it should be noted that in spite of his obvious fascination with David
and other French classicists Oleszkiewicz did not imitate the previously
mentioned works of the French masters while working on his painting. The
artist created an intriguing, highly original representation of the theme,
abiding the rules of maturę classicism employed by his Parisian master and his
foremost students. If one were to search for 01eszkiewicz’s references to the
paintings mentioned in this study, one could point to some analogy with
Guillemoks canvas completed in 1808, started before Oleszkiewicz left Paris
in 1806. The similarity is limited only to the representation of the young man,
supported by the man behind him: in the French painting he is an unidentified
person while 01eszkiewicz’s canvas it is the physician himself. However,
Guillemot did not depict the scene of Seleucus giving his wife to his son, as
did Oleszkiewicz, but the moment when Antiochus’ illness had been
discovered. It should be added that both the robes and the posturę of Stratonice
remind the wife of hetman Chodkiewicz in the previously mentioned canvas
by Oleszkiewicz Parting of Hetman Jan Karol Chodkiewicz with his Wife before
11. Jean Dominique
Ingres, The Story of
Antiochus and Stratonice,
ca. 1806, drawing,
Boulogne-sur-Mer,
Musee du Chateau
138