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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#0147
the nation’s spirit by way of emulation. Painting, sculpture, building, musie
and theatre owe a lot to the king’s generosity and encouragement. One cannot
really say that Polish art is blooming, sińce the artists who create it were and
still remain foreigners: Italians, French, Germans, but what these people
created remains here, in Warsaw, and may be considered a school which can
achieve much for education and the encouragement of local artists.”'6 Not
only the king but also the enlightened people of that period, such as Adam
Naruszewicz and Adam Kazimierz Czartoryski, were aware that supporting
local artists would bring fruit only in futurę.6 Oleszkiewicz’s and Brodowski’s
studies, first at home and then in Paris, or, as in the case of Jakub Tatarkiewicz,
in Romę, produced truły magnificent results, but unfortunately and moreover,
paradoxically, only when the Polish-Lithuanian Republic had disappeared
from the map of Europę. These artists opened new perspectives for a whole
generation of young artists who continued, sometimes in a different style,
their compatriots’ accomplishments.56 57 58 It is unfortunate that not finding
fuli approval in his home country, the author of Antiochus and Stratonice, the
first of the whole series of outstanding works of art created by native
inhabitants of the old Republic had to move to St. Petersburg where he worked
and passed away.
Translated by Paweł Lipszyc
56 F. Schulz, Podróże Inflantczyka z Rygi do Warszawy i po Polsce w latach 1791-1793, trans.
J.I. Kraszewski, Warszawa 1956, p. 279.
57 Korespondencja Adama Naruszewicza 1762-1796, ed. J. Płatt, Wrocław 1952, p. 42; Rotter-
mund, op. cit., p. 22. Cf. also W Tatarkiewicz, Rządy artystyczne Stanisława Augusta, Warszawa
1919.
58 For the role of Brodowski as the professor of painting in Warsaw cf. Sroczyńska, op. cit., 1985,
pp. 32-35; eadem, “Brodowski, Antoni (Stanisław)”, in Dictionary of Art, op. cit., vol. 4,
pp. 836-837.
and theatre owe a lot to the king’s generosity and encouragement. One cannot
really say that Polish art is blooming, sińce the artists who create it were and
still remain foreigners: Italians, French, Germans, but what these people
created remains here, in Warsaw, and may be considered a school which can
achieve much for education and the encouragement of local artists.”'6 Not
only the king but also the enlightened people of that period, such as Adam
Naruszewicz and Adam Kazimierz Czartoryski, were aware that supporting
local artists would bring fruit only in futurę.6 Oleszkiewicz’s and Brodowski’s
studies, first at home and then in Paris, or, as in the case of Jakub Tatarkiewicz,
in Romę, produced truły magnificent results, but unfortunately and moreover,
paradoxically, only when the Polish-Lithuanian Republic had disappeared
from the map of Europę. These artists opened new perspectives for a whole
generation of young artists who continued, sometimes in a different style,
their compatriots’ accomplishments.56 57 58 It is unfortunate that not finding
fuli approval in his home country, the author of Antiochus and Stratonice, the
first of the whole series of outstanding works of art created by native
inhabitants of the old Republic had to move to St. Petersburg where he worked
and passed away.
Translated by Paweł Lipszyc
56 F. Schulz, Podróże Inflantczyka z Rygi do Warszawy i po Polsce w latach 1791-1793, trans.
J.I. Kraszewski, Warszawa 1956, p. 279.
57 Korespondencja Adama Naruszewicza 1762-1796, ed. J. Płatt, Wrocław 1952, p. 42; Rotter-
mund, op. cit., p. 22. Cf. also W Tatarkiewicz, Rządy artystyczne Stanisława Augusta, Warszawa
1919.
58 For the role of Brodowski as the professor of painting in Warsaw cf. Sroczyńska, op. cit., 1985,
pp. 32-35; eadem, “Brodowski, Antoni (Stanisław)”, in Dictionary of Art, op. cit., vol. 4,
pp. 836-837.