DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0042
Trembecki’s works in verse devoted to Powązki, Zofiówka and Skrzetuski’s Polanka,
Wielądko’s and Orariski’s description of the gardens at Mokotów, and finally the comprehen-
sive publication by Franciszek Ksawery Giżycki O przyozdobieniu siedlisk wiejskich (On the
Adornment of Country Residences) of 1827.
The Painting of the Age of Enlightenment
As in architecture, in painting and sculpture neoclassical trends developed as a separate
movement, from the Renaissance to the 19th century. Within the notion of neoclassical art,
painting and sculpture were particularly characterized by a tendency towards static composi-
tion, by linearism and a predilection for sculptural modelling of figures in painting. It would
not be correct to ascribe too much significance in the formation of new neoclassical versions in
Polish painting and sculpture in the middle of the 18th century to an increasing interest in
ancient culture. 18th-century theoreticians and admirers of the arts had in mind a new
renaissance rather than imitation of works of ancient arts, which in addition was to a much
lesser degree possible in painting than in sculpture and architecture. The Renaissance
painting, Poussin’s paintings and the works of the artists of Louis XVI were not part of those
trends in the arts in which imitative features dominated, but were instead an expression of
creative will. The neoclassical painting of the second half of the 18th century was by no means
cold, impersonal, lifeless; nor was imitation of ancient artits purpose. Itappeared indifferent
versions and was not opposed to sentimental and preromanticist movements. It was only in
the 19th century that a conflict developed between the classicists and the romanticists.
To the painters and sculptors of the Age of Enlightenment ancient art was not an end but
rather a means; the study of classical culture wras to help attain true simplicity, bring man
closer to Naturę, facilitate the creation of works fuli of truth, simplicity and purity. This
inspired realistic trends that occurred in the painting and sculpture of that period; however,
this art should not be interpreted only in terms of formal categories but rather as
a phenomenon strictly connected with the contemporary ideology. Therefore, the content of
the paintings is of significance, and it is only when a work of art is considered at the same time
in terms of form and content that it is possible to understand it and to define correctly the
character of its style. The old forms in art were not dropped immediately. In the early period
of neoclassical painting and sculpture, in the 18th century, form evolved slowly and in
a variety of ways.
Representations of virtuous, restrained life, uncorrupted simplicity, sacrifice, heroism and
patriotism were typical subjects for neoclassical painting, faithfully reflecting the ideology of
the Enlightenment. Scenes from classical mythology and history were most often allusionsto
topical events and important problems, to be given correct interpretation. Images from
ancient and modern history satisfied purposes of political propaganda. The task of historical
painting was to educate society, teach morality and advocate civic virtues, inspire contempt
for danger with the good of the homeland at stake. History painting was set significant tasks
and therefore it was given the highest rank in the academic hierarchy. The second place went
to portrait painting, which was to show leaders and knights, scholars and philosophers,
writers and good citizens. Genre scenes, landscapes, still life were relegated to a less important
position. The arts were elevated very high and artists were called upon to serve not only
individuals but also their nation and mankind. In addition to traditional portraits there were
now also portraits where books, medical tools or manufactured goods appeared as accessories,
and scenes from the life of simple people became a new theme. Towards the end of the 18th
century patriotic and revolutionary themes became widespread in art.
37
Wielądko’s and Orariski’s description of the gardens at Mokotów, and finally the comprehen-
sive publication by Franciszek Ksawery Giżycki O przyozdobieniu siedlisk wiejskich (On the
Adornment of Country Residences) of 1827.
The Painting of the Age of Enlightenment
As in architecture, in painting and sculpture neoclassical trends developed as a separate
movement, from the Renaissance to the 19th century. Within the notion of neoclassical art,
painting and sculpture were particularly characterized by a tendency towards static composi-
tion, by linearism and a predilection for sculptural modelling of figures in painting. It would
not be correct to ascribe too much significance in the formation of new neoclassical versions in
Polish painting and sculpture in the middle of the 18th century to an increasing interest in
ancient culture. 18th-century theoreticians and admirers of the arts had in mind a new
renaissance rather than imitation of works of ancient arts, which in addition was to a much
lesser degree possible in painting than in sculpture and architecture. The Renaissance
painting, Poussin’s paintings and the works of the artists of Louis XVI were not part of those
trends in the arts in which imitative features dominated, but were instead an expression of
creative will. The neoclassical painting of the second half of the 18th century was by no means
cold, impersonal, lifeless; nor was imitation of ancient artits purpose. Itappeared indifferent
versions and was not opposed to sentimental and preromanticist movements. It was only in
the 19th century that a conflict developed between the classicists and the romanticists.
To the painters and sculptors of the Age of Enlightenment ancient art was not an end but
rather a means; the study of classical culture wras to help attain true simplicity, bring man
closer to Naturę, facilitate the creation of works fuli of truth, simplicity and purity. This
inspired realistic trends that occurred in the painting and sculpture of that period; however,
this art should not be interpreted only in terms of formal categories but rather as
a phenomenon strictly connected with the contemporary ideology. Therefore, the content of
the paintings is of significance, and it is only when a work of art is considered at the same time
in terms of form and content that it is possible to understand it and to define correctly the
character of its style. The old forms in art were not dropped immediately. In the early period
of neoclassical painting and sculpture, in the 18th century, form evolved slowly and in
a variety of ways.
Representations of virtuous, restrained life, uncorrupted simplicity, sacrifice, heroism and
patriotism were typical subjects for neoclassical painting, faithfully reflecting the ideology of
the Enlightenment. Scenes from classical mythology and history were most often allusionsto
topical events and important problems, to be given correct interpretation. Images from
ancient and modern history satisfied purposes of political propaganda. The task of historical
painting was to educate society, teach morality and advocate civic virtues, inspire contempt
for danger with the good of the homeland at stake. History painting was set significant tasks
and therefore it was given the highest rank in the academic hierarchy. The second place went
to portrait painting, which was to show leaders and knights, scholars and philosophers,
writers and good citizens. Genre scenes, landscapes, still life were relegated to a less important
position. The arts were elevated very high and artists were called upon to serve not only
individuals but also their nation and mankind. In addition to traditional portraits there were
now also portraits where books, medical tools or manufactured goods appeared as accessories,
and scenes from the life of simple people became a new theme. Towards the end of the 18th
century patriotic and revolutionary themes became widespread in art.
37