Lorentz, Stanisław; Rottermund, Andrzej: Neoclassicism in Poland (Warsaw, 1986)

Aleksander Orłowski
207 [192] Battle of Racławice, 1798; India ink, washed,
30.3x49; National Museum in Cracow, Czartoryski Col-
lection, inv. no R.r 1920
The events of the Kościuszko Insurrection must have
greatly affected young Aleksander Orłowski. He returned
to them in dozens of water colours and drawings through-
out his artistic career. He drew portraits of Tadeusz
Kościuszko himself and types of his soldiers, camp scenes,
skirmishes and battles of the insurgent troops. Particularly
in those very dynamie scenes, he could give fuli rein his
spontaneity, sensitive observation and his extraordinary
gift of drawing. In the “Battle of Racławice” he managed
superbly to reereate the extraordinary, heroic atmosphere
of Kościuszko’s victorious battle.
Bibliography: Aleksander Orłowski (1777-1832). Katalog wystawy
w Muzeum Narodowym w Warszawie, grudzień 1957 - luty 1958
(Aleksander Orłowski, 1777-1832. Catalogue ol the Exhibilion at tbe
National Museum in Warsa w, December 1957 - February 1958 - in
Polish), item 66, p. 99
Jan Rustem (1762-1835)
208 [XXXI] Maria Mirska, Adam Napoleon Mirski and
Barbara Szumska, c. 1808; oil on canvas, 159x124.5;
National Museum in Warsaw, inv. no 231803
This group portrait shows Maria Mirska as Terpsychore,
Adam Napoleon Mirski as Amor and Barbara Szumska as
Polyhymnia. The former two were children of Stanisław
Wojciech Mirski and Stanisława Mirska, nee Koszczyc,
whereas Barbara Szumska was the daughter of Wawrzyniec
Szumski and Ludwika Szumska, nee Koszczyc. From the
age of Adam Napoleon Mirski and the style of the painting,
the authors of the catalogue Portraits of Polish Personages
have dated the portrait at about 1808, correcting the earlier
datę of 1822. Among the preserved works by Rustem, this
portrait is the most neoclassical in character. The composi-
tion and outline are governed by neoclassical discipline,
whereas Mirska’s figurę and dress resemble the dancers
from Herculaneum.
Bibliography: Ryszkiewicz, Polish Group Portrait, pp. 222-223; Portraits
of Polish Personages, item 133, p. 126
Antoni Brodowski (1784—1832)
209 [XXIX] Portrait of the Artist’s Brother, Karol Brodo-
wski, 1815; oil on canvas, 59x44; National Museum in
Warsaw, inv. no 180814
This portrait is one of the most typical and most beautiful
works by Brodowski. In keeping with the principles of
neoclassical painting, the artist emphasized the outline and
correctly modelłed the head. Despite the unattractive
colour, it deserves attention, in view of the use of a unified
gamut, quiet and harmonious. The personal attitudeof the
painter towards his model and the greater interest in the

colour of the painting cahse the viewer to discern some notę
of romanticist atmosphere in the portrait.
Bibliography: Ryszkiewicz, Polish Group Portrait, pp. 133-137
Antoni Brodowski
210 [195] SauPs Anger with David, 1812-1819; oil on
canvas, 265x317; National Museum in Warsaw, inv. no
150
Both in form and subject matter, this work is the best
example in Polish painting of the implernentation of the
neoclassical doctrine of David’s circle. Outline dominates
here over colour, which is reduced to locai tones. The
sculpture-like modelłed figures of the protagonists are
petrified in the rigid, deliberately balanced composition.
At the Warsaw Exhibition of 1819, Brodowski got a Gold
Medal for this work.
Bibliography: Malarstwo polskie od XVI do początku XX wieku. Katalog
Galerii w Muzeum Narodowym w Warszawie (Polish Painting from the
16th to the Early 20th Century. The Catalogue of the Gallery of the
National Museum in Warsaw - in Polish), Warsaw 1962, item 119
Antoni Brodowski
211 [XXXIII] Portrait of Archbishop Szczepan Hołow-
czyc, 1828; oil on canvas, 128x104; signed “AB 1828”;
National Museum in Poznań, inv. no Mp. 373
Brodowski achieved best the effect of monumentalism, so
greatly sought by the artists of late neoclassicism, in the
portrait of Archbishop Szczepan Hołowczyc. He achieved
it as a result of the spatial isolation of the model, the ideally
harmonized composition and the undoubted power to
attract attention, contained in the realistically represented
face and hands of the protagonist. Brodowski painted the
portrait after Archbishop Szczepan Hołowczyc (1741—
1823) had died. Apart from his office of archbishop of
Warsaw, Hołowczyc was the Primate of the Kingdom of
Poland and a fellow of the Warsaw Society of the Friends of
Science.
Bibliography: S. Kozakiewicz, Malarstwo polskie, oświecenie-klasy-
cyzm-romantyzm (Polish Painting, Enlighlenment-Neoclassicism-Ro-
manticism - in Polish), Warsaw 1976, pp. 50-53
Antoni Blank (1785-1844)
212 [194] Self-portrait with Wife and Two Daughters,
1825; oil on canvas, 206x 147; National Museum in War-
saw, inv. no 126360
This group portrait shows the painter Antoni Blank, his
wife, Amelia, nee Pechwell, and their daughters, Aniela
and Ludwika. This work is one of the most outstanding in
the rich output of the artist. He freąuently painted family
portraits, undoubtedly under the influence of late German
neoclassical painting where this subject was favoured.
According to A. Ryszkiewicz, “From the Germans he
took, among other things, the predilection to showing the
domestic retreat, in an atmosphere of family prosperity and

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