DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0044
the King’s artistic programme and to carry out his reąuests, whereas education was in a way
an additional task. Thus, it is difficult to determine in some cases which of the artists and to
what degree was engaged in didactic work. It is certain that as far as painters ago, Louis
Marteau and Antoni Albertrandi also taught as well as Bacciarelli. Mateusz Tokarski was
a copyist and curator of the Royal Gallery. Le Brun must have taught sculpture. We know the
names of some thirty students who worked in the Atelier during the reign óf Stanislas
Augustus. Nonę was particularly eminent, but some were ąuite good painters. The most
important thing was the development of a community of Polish painters, which contributed
to the formation at the beginning of the 19th century of a painters’ centre in Warsaw and
influenced the whole country, particularly aiding the development of painting in Vilna.
The Atelier at the Castle, which was founded soon after Stanislas Augustus had come to the
throne and was directed by Bacciarelli, lasted longer than the King lived and was later run by
Bacciarelli as his private studio. He failed to reopen it as an official atelier in the times of the
Duchy of Warsaw, although he kept the studio and his apartment at the Castle, in the Kitchen
Courtyard, until his death. The Royal Atelier preceded the first Polish artistic academy and
was related symbolically to the latter by the person of Bacciarelli, who, in 1817, afewmonths
before his death, was nominated honorary dean of the Department of Fine Arts at Warsaw
University, which was founded at that time.
Marcello Bacciarelli played the most important role at the artistic court of King Stanislas
Augustus and has become fixed in the memory of Poles, particularly because he had become
so fully and truły polonized. It is to him and his workshop that most of the portraits of
Stanislas Augustus - of which there were so many in Poland in palaces, churches and country
mansions, and the numerous portraits of magnates and gentry - were attributed. In the 19th
century and later his famę continued to be widespread in Poland, probably because his works
filled the Royal Castle and Łazienki in Warsaw, possibly because in the contemporary and
later view the portraits of this painter became so related to Polish mansions of the period of
neoclassicism that they together constituted an important element of the Polish cultural
landscape, and finally, too, because over the period when the role of Bacciarelli was
predominant, Polish national art developed. The royal portraits and great paintings fromthe
Vilna, Cathedra!, draft design for reconstruction, W. Guccwicz, 1783
39
an additional task. Thus, it is difficult to determine in some cases which of the artists and to
what degree was engaged in didactic work. It is certain that as far as painters ago, Louis
Marteau and Antoni Albertrandi also taught as well as Bacciarelli. Mateusz Tokarski was
a copyist and curator of the Royal Gallery. Le Brun must have taught sculpture. We know the
names of some thirty students who worked in the Atelier during the reign óf Stanislas
Augustus. Nonę was particularly eminent, but some were ąuite good painters. The most
important thing was the development of a community of Polish painters, which contributed
to the formation at the beginning of the 19th century of a painters’ centre in Warsaw and
influenced the whole country, particularly aiding the development of painting in Vilna.
The Atelier at the Castle, which was founded soon after Stanislas Augustus had come to the
throne and was directed by Bacciarelli, lasted longer than the King lived and was later run by
Bacciarelli as his private studio. He failed to reopen it as an official atelier in the times of the
Duchy of Warsaw, although he kept the studio and his apartment at the Castle, in the Kitchen
Courtyard, until his death. The Royal Atelier preceded the first Polish artistic academy and
was related symbolically to the latter by the person of Bacciarelli, who, in 1817, afewmonths
before his death, was nominated honorary dean of the Department of Fine Arts at Warsaw
University, which was founded at that time.
Marcello Bacciarelli played the most important role at the artistic court of King Stanislas
Augustus and has become fixed in the memory of Poles, particularly because he had become
so fully and truły polonized. It is to him and his workshop that most of the portraits of
Stanislas Augustus - of which there were so many in Poland in palaces, churches and country
mansions, and the numerous portraits of magnates and gentry - were attributed. In the 19th
century and later his famę continued to be widespread in Poland, probably because his works
filled the Royal Castle and Łazienki in Warsaw, possibly because in the contemporary and
later view the portraits of this painter became so related to Polish mansions of the period of
neoclassicism that they together constituted an important element of the Polish cultural
landscape, and finally, too, because over the period when the role of Bacciarelli was
predominant, Polish national art developed. The royal portraits and great paintings fromthe
Vilna, Cathedra!, draft design for reconstruction, W. Guccwicz, 1783
39