DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0022
caused the problem of the Polish language to recur as one of the major issues in the Polish
Enlightenment, as expressed in the words: “While there is the (Polish) language, there is the
name of Poland”.
Władysław Tatarkiewicz was the first to discern the singular naturę of the art sponsored by
Stanislas Augustus, proposing in 1916 in a booklet on the Łazienki Pałace and Park, that the
notion of a Stanislas Augustus style should be introduced. Whereas similar terms, particular-
ly the “style of Louis XVI”, do not signify any morę than the duration of the individual reign,
sińce the latter king never affected the shape of artistic events, nor the development of the
arts, the term “the Stanislas Augustus style” has a different meaning. It defines the art to
which the King madę not only a financial but also a personal and most direct contribution.
This art therefore did not include all that was created in the arts in 1764-1795, but only what
was produced for the King, at his reąuest or under the influence of the court arts. The
meaning of “the Stanislas Augustus style” can be f urther restricted by defining it as only that
art sponsored by the King which had its own style, one that had not been borrowed and was
not to be seen elsewhere. In his later studies, Tatarkiewicz formulated precisely which art, in
his view, could be covered by the royal name. Thus, this term would exclude the earlier
period, even the White Pavilion and Myślewice within the Łazienki Park, and also the work
performed at the Royal Castle in the seventies. “This Stanislas Augustus art strictissimo sensu
- Tatarkiewicz wrote - did not begin until 1783: with the Assembly Hall at the Castle and the
Southern faęade of the Łazienki Pałace”. It was only in those years, according to Tatar-
kiewicz, that the specific Stanislas Augustus art, his own style, arose.
This view does not seem to be correct. It is possible to agree that the Stanislas Augustus style
should only include those phenomena which were neoclassical. The Chinese paintings of
Pillement at the Royal Castle and the early interiors by Szreger at Ujazdów Castle were
certainly rococo echoes in the arts of the early period of the King’s reign. But all the designs of
Fontana and Louis, as early as 1765 and subseąuently, doubtless represented a new classical
revivał in the arts. And the interest of Stanislas Augustus in ancient art dated from before his
accession to the throne. It is possible to define very precisely the beginnings of the formation
of the style which can justly be given the name of Stanislas Augustus. They came at a time
when he was certain to come to the throne and when he had madę his first attempts to
reconstruct the Royal Castle which was to be his residence. The Stanislas Augustus style
evolved continuously and the present author does not think that strict periods can be
distinguished within it, sińce this art developed in a rather fluid fashion. If one, however,
tried to discern some stages of it, there would perhaps be three. The first would include the
years 1764-1773, when Jakub Fontana was the chief architect and Victor Louisplayeda very
important role. In those years Stanislas Augustus created his court of artists. Some of the
artists who came to Warsaw left it after a short stay, others - like Bacciarelli, Canaletto and Le
Brun - remained forever. The sensitivity of the King to the different versions occurring in
French neoclassicism at that time was indicated by his interest in the trend called gohf
grecąue.
The second stage would cover approximately the ten years between 1774 and 1783: the
activity of Merlini at the Castle, the complex of new interiors at the Łazienki Park - the White
Pavilion. The third, in turn, would consist of the last ten years of Stanislas Augustus’ reign,
including the Throne Room and the Knights’ Hall at the Castle, the great historical paintings
of Bacciarelli; at Łazienki, the alterations of 1784, 1788 and the subseąuent years. At this
stage, Kamsetzer was working together with Merlini.
The Stanislas Augustus style was one of the versions of neoclassicism; it drew on many
sources, but was mainly inspired by French art. The King’s taste was rather moderate, very
typical of the 18th century and indifferent to avant-garde tendencies. Over the 30 years, the
17
Enlightenment, as expressed in the words: “While there is the (Polish) language, there is the
name of Poland”.
Władysław Tatarkiewicz was the first to discern the singular naturę of the art sponsored by
Stanislas Augustus, proposing in 1916 in a booklet on the Łazienki Pałace and Park, that the
notion of a Stanislas Augustus style should be introduced. Whereas similar terms, particular-
ly the “style of Louis XVI”, do not signify any morę than the duration of the individual reign,
sińce the latter king never affected the shape of artistic events, nor the development of the
arts, the term “the Stanislas Augustus style” has a different meaning. It defines the art to
which the King madę not only a financial but also a personal and most direct contribution.
This art therefore did not include all that was created in the arts in 1764-1795, but only what
was produced for the King, at his reąuest or under the influence of the court arts. The
meaning of “the Stanislas Augustus style” can be f urther restricted by defining it as only that
art sponsored by the King which had its own style, one that had not been borrowed and was
not to be seen elsewhere. In his later studies, Tatarkiewicz formulated precisely which art, in
his view, could be covered by the royal name. Thus, this term would exclude the earlier
period, even the White Pavilion and Myślewice within the Łazienki Park, and also the work
performed at the Royal Castle in the seventies. “This Stanislas Augustus art strictissimo sensu
- Tatarkiewicz wrote - did not begin until 1783: with the Assembly Hall at the Castle and the
Southern faęade of the Łazienki Pałace”. It was only in those years, according to Tatar-
kiewicz, that the specific Stanislas Augustus art, his own style, arose.
This view does not seem to be correct. It is possible to agree that the Stanislas Augustus style
should only include those phenomena which were neoclassical. The Chinese paintings of
Pillement at the Royal Castle and the early interiors by Szreger at Ujazdów Castle were
certainly rococo echoes in the arts of the early period of the King’s reign. But all the designs of
Fontana and Louis, as early as 1765 and subseąuently, doubtless represented a new classical
revivał in the arts. And the interest of Stanislas Augustus in ancient art dated from before his
accession to the throne. It is possible to define very precisely the beginnings of the formation
of the style which can justly be given the name of Stanislas Augustus. They came at a time
when he was certain to come to the throne and when he had madę his first attempts to
reconstruct the Royal Castle which was to be his residence. The Stanislas Augustus style
evolved continuously and the present author does not think that strict periods can be
distinguished within it, sińce this art developed in a rather fluid fashion. If one, however,
tried to discern some stages of it, there would perhaps be three. The first would include the
years 1764-1773, when Jakub Fontana was the chief architect and Victor Louisplayeda very
important role. In those years Stanislas Augustus created his court of artists. Some of the
artists who came to Warsaw left it after a short stay, others - like Bacciarelli, Canaletto and Le
Brun - remained forever. The sensitivity of the King to the different versions occurring in
French neoclassicism at that time was indicated by his interest in the trend called gohf
grecąue.
The second stage would cover approximately the ten years between 1774 and 1783: the
activity of Merlini at the Castle, the complex of new interiors at the Łazienki Park - the White
Pavilion. The third, in turn, would consist of the last ten years of Stanislas Augustus’ reign,
including the Throne Room and the Knights’ Hall at the Castle, the great historical paintings
of Bacciarelli; at Łazienki, the alterations of 1784, 1788 and the subseąuent years. At this
stage, Kamsetzer was working together with Merlini.
The Stanislas Augustus style was one of the versions of neoclassicism; it drew on many
sources, but was mainly inspired by French art. The King’s taste was rather moderate, very
typical of the 18th century and indifferent to avant-garde tendencies. Over the 30 years, the
17