DOI Page / Citation link:
https://doi.org/10.11588/diglit.38678#0284
order”. In terms of form, Blank’s works are different from
those of other Polish neoclassicists: they are morę rigid,
harder in modelling and morę disciplined in colour, which
when combined gives them a morę austere character.
Bibliography: Ryszkiewicz, Polish Group Fortran, pp. 137-139; Portraits
of Polish Pcrsonages, item 10, pp. 30-31
Aleksander Kokular (1793-1846)
213 [XXXII] Oedipus and Antigone; oil on canvas,
261x199; signed “ALEX: KOKULAR POL pinx. RO-
MAE MDCCCXXV”; National Museum in Warsaw, inv.
no 157
Apart from Antoni Brodowski, Kokular was the most
outstanding painter of maturę neoclassicism in Poland. In
Sculpture
Andre Le Brun (1737-1811)
214 [198] Medallion with a bust of Stanislas Augustus
Poniatowski, 1780; white marble, 70x55; National Mu-
seum in Warsaw, inv. no 191 542
Andre Le Burn, a French sculptor, came to Warsaw in
1768, at reąuest of King Stanislas Augustus. The medal-
lion was madę in about 1780 for the Ballroom at the Royal
Castle in Warsaw. Together with the allegorical statues of
Justice and Peace (by J. Monaldi), it formed the overdoor
above the main doorway. At the court of Stanislas Augus-
tus Le Brun was the chief sculptor, producing, with
collaboration of J. Monaldi and Franciszek Pinck, sculp-
tures for the decoration of the Royal Castle, the Ujazdów
Castle and Łazienki. Among the many compositions with
mythological, historical, allegorical and religious themes,
an important part in his creative work was taken by portrait
sculpture. In the low-relief medallion with an image of the
King, it is interesting to notę the realistic treatment of the
modePs face.
Bibliography: Król, Royal Castle in Warsaw, p. 134; Kaczmarzyk, Polish
Sculpture, item 56, p. 33
Andre Le Brun
215, 216 [196, 197] Busts of Jan Zamoyski and Jerzy
Ossoliński from the series of famous Poles from the
Knights’ Hall at the Royal Castle in Warsaw
The clay models were madę after 1770, and in 1782-1786
the moulder Johann Ehrenfried Dietrich cast them in
bronze. The cycle consisted of 4 large and 18 smali busts (5
by Monaldi and 17 by Le Brun). The artistic and ideologi-
cal values of the series madę it popular in Poland and
numerous plaster-of-Paris casts were madę. The cycle from
the Knights’ Hall was taken away to Russia in 1833, to
return to Warsaw in 1921. It was salvaged in September
1939.
“Oedipus and Antigone” he strictly implemented the
ideals of neoclassical painting. He achieved here a harmo-
nious compactness of figures treated as statues, while
precise outline and correct proportions became the domi-
nating means in a static composition. Thecanvas, painted
for the competition on the theme of “Oedipus and Antigo-
ne”, was sent by Kokular from Romę in 1825. The other
competitors included A. Brodowski and A. Blank. At the
1828 exhibition Kolular’s work was awarded the first
prize.
Bibliography: Sztuka warszawska od średniowiecza do potowy XX wieku.
Katalog wystawy w Muzeum Narodowym w Warszawie (The Arts in
Warsaw from the Middle Ages to the Middle of the 20th Century.
Catalogue of the Exhibirion at the National Museum in Warsaw - in
Polish), Warsaw 1962, item 516, pp. 191-192
Bust of Jan Zamoyski:
bronze, 72 cm high; with the inscriptions: “IOHANN
EHRENFRIED DIETRICH GOSS. MICH IN WAR-
SCHAU 1782” and, on the base, “IOANNES: ZAMOY-
SKI+MDCV”; National Museum in Warsaw, inv. no
158 401
Bust of Jerzy Ossoliński:
bronze, 47 cm high; with the inscriptions: “Ossoliński”
and, on the base, “GEO: OSSOLIŃSKI+MDCL”; Na-
tional Museum in Warsaw, inv. no 131 697
Bibliography: T. Mańkowski, Rzeźby portretowe w brązie na Zamku
Królewskim w Warszawie (The Bronze Portrait Sculptures at the Royal
Castle in Warsaw - in Polish), Warsaw, p. 125; Kaczmarzyk, Polish
Sculpture, pp. 36-40
Jacoppo Monaldi (1730-1798)
217 [199] Statuę of Chronos, 1784-1786; white marble;
globe with a mobile clock face, metal; scythe (refitted), 254
cm high, gilded bronze; National Museum in Warsaw, inv.
no 156 113
The statuę, intended for the Knights’ Hall at the Royal
Castle in Warsaw, was placed there in 1786. On the plinth
there was the inscription S.A.R.F.F. ANNO
MDCCLXXXVI. In September 1939 it was moved to the
underground Stores of the National Museum in Warsaw,
and in 1940 was taken by the Germans to Wawel. It
returned to the Museum in 1946.
The statuę of Chronos was the most important motif of the
Knights’ Hall. It was set in the centre, on the wali facing
the Windows. Its counterpart between the Windows was
a statuę of Famę, by Le Brun. These two monumental
sculptures emphasized the ideological meaning of the
interior, glorifying those who had rendered service to the
national cause. The statuę of a woman blowing a truinpet
declared their glory to the world; Chronos, a personifka-
tion of time, was an expressive symbol of the everlasting
283
those of other Polish neoclassicists: they are morę rigid,
harder in modelling and morę disciplined in colour, which
when combined gives them a morę austere character.
Bibliography: Ryszkiewicz, Polish Group Fortran, pp. 137-139; Portraits
of Polish Pcrsonages, item 10, pp. 30-31
Aleksander Kokular (1793-1846)
213 [XXXII] Oedipus and Antigone; oil on canvas,
261x199; signed “ALEX: KOKULAR POL pinx. RO-
MAE MDCCCXXV”; National Museum in Warsaw, inv.
no 157
Apart from Antoni Brodowski, Kokular was the most
outstanding painter of maturę neoclassicism in Poland. In
Sculpture
Andre Le Brun (1737-1811)
214 [198] Medallion with a bust of Stanislas Augustus
Poniatowski, 1780; white marble, 70x55; National Mu-
seum in Warsaw, inv. no 191 542
Andre Le Burn, a French sculptor, came to Warsaw in
1768, at reąuest of King Stanislas Augustus. The medal-
lion was madę in about 1780 for the Ballroom at the Royal
Castle in Warsaw. Together with the allegorical statues of
Justice and Peace (by J. Monaldi), it formed the overdoor
above the main doorway. At the court of Stanislas Augus-
tus Le Brun was the chief sculptor, producing, with
collaboration of J. Monaldi and Franciszek Pinck, sculp-
tures for the decoration of the Royal Castle, the Ujazdów
Castle and Łazienki. Among the many compositions with
mythological, historical, allegorical and religious themes,
an important part in his creative work was taken by portrait
sculpture. In the low-relief medallion with an image of the
King, it is interesting to notę the realistic treatment of the
modePs face.
Bibliography: Król, Royal Castle in Warsaw, p. 134; Kaczmarzyk, Polish
Sculpture, item 56, p. 33
Andre Le Brun
215, 216 [196, 197] Busts of Jan Zamoyski and Jerzy
Ossoliński from the series of famous Poles from the
Knights’ Hall at the Royal Castle in Warsaw
The clay models were madę after 1770, and in 1782-1786
the moulder Johann Ehrenfried Dietrich cast them in
bronze. The cycle consisted of 4 large and 18 smali busts (5
by Monaldi and 17 by Le Brun). The artistic and ideologi-
cal values of the series madę it popular in Poland and
numerous plaster-of-Paris casts were madę. The cycle from
the Knights’ Hall was taken away to Russia in 1833, to
return to Warsaw in 1921. It was salvaged in September
1939.
“Oedipus and Antigone” he strictly implemented the
ideals of neoclassical painting. He achieved here a harmo-
nious compactness of figures treated as statues, while
precise outline and correct proportions became the domi-
nating means in a static composition. Thecanvas, painted
for the competition on the theme of “Oedipus and Antigo-
ne”, was sent by Kokular from Romę in 1825. The other
competitors included A. Brodowski and A. Blank. At the
1828 exhibition Kolular’s work was awarded the first
prize.
Bibliography: Sztuka warszawska od średniowiecza do potowy XX wieku.
Katalog wystawy w Muzeum Narodowym w Warszawie (The Arts in
Warsaw from the Middle Ages to the Middle of the 20th Century.
Catalogue of the Exhibirion at the National Museum in Warsaw - in
Polish), Warsaw 1962, item 516, pp. 191-192
Bust of Jan Zamoyski:
bronze, 72 cm high; with the inscriptions: “IOHANN
EHRENFRIED DIETRICH GOSS. MICH IN WAR-
SCHAU 1782” and, on the base, “IOANNES: ZAMOY-
SKI+MDCV”; National Museum in Warsaw, inv. no
158 401
Bust of Jerzy Ossoliński:
bronze, 47 cm high; with the inscriptions: “Ossoliński”
and, on the base, “GEO: OSSOLIŃSKI+MDCL”; Na-
tional Museum in Warsaw, inv. no 131 697
Bibliography: T. Mańkowski, Rzeźby portretowe w brązie na Zamku
Królewskim w Warszawie (The Bronze Portrait Sculptures at the Royal
Castle in Warsaw - in Polish), Warsaw, p. 125; Kaczmarzyk, Polish
Sculpture, pp. 36-40
Jacoppo Monaldi (1730-1798)
217 [199] Statuę of Chronos, 1784-1786; white marble;
globe with a mobile clock face, metal; scythe (refitted), 254
cm high, gilded bronze; National Museum in Warsaw, inv.
no 156 113
The statuę, intended for the Knights’ Hall at the Royal
Castle in Warsaw, was placed there in 1786. On the plinth
there was the inscription S.A.R.F.F. ANNO
MDCCLXXXVI. In September 1939 it was moved to the
underground Stores of the National Museum in Warsaw,
and in 1940 was taken by the Germans to Wawel. It
returned to the Museum in 1946.
The statuę of Chronos was the most important motif of the
Knights’ Hall. It was set in the centre, on the wali facing
the Windows. Its counterpart between the Windows was
a statuę of Famę, by Le Brun. These two monumental
sculptures emphasized the ideological meaning of the
interior, glorifying those who had rendered service to the
national cause. The statuę of a woman blowing a truinpet
declared their glory to the world; Chronos, a personifka-
tion of time, was an expressive symbol of the everlasting
283