DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0285
memory of the great accomplishments of famous Poles.
Bibliography: Król, RoyalCastiein Warsa w, p. 123; Kaczmarzyk, Polish
Sculpture, iłem 95, pp. 42-43
Jan Regulski (c. 1760-1807)
218 [200] Cameo with a bust of Tadeusz Kościuszko,
c. 1794; 4.7x3.4; National Museum in Cracow, inv. no
EW-IV-ZŁ-1607
Jan Regulski, sculptor and medallist, studied in Italy.
When he returned to Poland in 1783 he began working for
King Stanislas Augustus. He also madę intaglios, cameos
and smali reliefs with images of the outstanding persons of
his times. His art was particulariy appreciated in that epoch
of a return to antiquity. Regulski freąuently stylized his
models on ancient leaders and heroes. An example of such
stylization is this smali portrait of Tadeusz Kościuszko, in
the pose of an ancient leader; with only the revolutionary
symbols on the shield relating the representation to con-
temporary times.
Bibliography: Historia sztuki polskiej (A History of Polish Art - in
Polish), vol. III, Cracow 1962, p. 77
Antonio Canova (1757-1822)
219 [201] Memoriał statuę of Henryk Lubomirski, 1787,
marble, about 140 cm; Łańcut Museum, inv. no S 2232
MŁ
Canova was the most outstanding European sculptor of the
turn of the 18th and 19th centuries and, apart from
Thorvaldsen, exerted the greates influence on the devel-
opment of neoclassical sculpture. He had only one Polish
commission, a statuę of Henryk Lubomirski, although
King Stanislas Augustus tried to win his interest for
a group representing Venus and Adonis. The statuę in
question was madę at request of Duchess Elżbieta Lubo-
mirska, nee Czartoryska, wife of the Marshal. The artist
represented Henryk Lubomirski as Amor standing, lean-
ing on a bow. This iconographic type was, like other
works by Canova, inspired by classical sculpture. Jn
creating the famous statues of Venus, Three Graces,
Perseus or the recumbent one of Paulina Borghese, Canova
worked in an analogous way. The artist repeated the statuę
of Lubomirski, replacing the head of the model by one with
ideał features and calling the new composition “Amor”.
Bibliography: Lorentz, On the Sculpture Acąuisitions, p. 289; Kossako-
wska-Szanajca, Majewska-Maszkowska, Łańcut Castle, pp. 111, 160,
212, 213, 393
Bertel Thorvaldsen (1768-1844)
220 [202] Memoriał statuę of Nicolaus Copernicus, 1830;
bronze; situated against the background of Staszic Pałace
in Warsaw
The work of Thorvaldsen, a Danish sculptor, included
some Polish commissions. For his Polish customers he
executed a dozen or so sculptures, including the statues of
Nicolaus Copernicus, Włodzimierz Potocki, Ganimedes
and Prince Józef Poniatowski. Thorvaldsen signed the
contract for the statuę of Nicolaus Copernicus in 1820; he
madę drafts in 1822-1828. The model was brought to
Warsaw in 1828 and was castin bronze by A. J. Norblinand
J. Gregoire (the latter finished the casting). It was unveiled
in 1830. After the damage of 1944 the statuę was reset on
July 22, 1945. It was renovated in 1949, under the supervi-
sion of S. Jagmin, and unveiled again on July 22, 1949.
In the statuę of Copernicus the artist solved the difficult
sculptural problem of the monumental representation of
a seated figurę. He achieved the desired effect, primarily as
a result of the use of a toga as the astronomer’s dress, which
provided the compact composition sought for by the
sculptor. It is interesting to notę the high artistic value of
the realistically treated head of the scholar. Thorvaldsen
managed in an excellent way to fit the memoriał into the
neoclassical architecturał setting of the Staszic Pałace in the
background.
Bibliography: Lorentz, On the Sculpture Acąuisitions, pp. 294-295
Bertel Thorvaldsen
221 [203] Memoriał statuę of Prince Józef Poniatowski,
1832; bronze; situated against the background of the pałace
of the Presidium of the Council of Ministers in Warsaw
Thorvaldsen signed the contract for the statuę of Prince
Józef Poniatowski in 1818, and added to it in 1818 and
1820. He madę draft designs in 1822-1827. The model was
brought to Warsaw in 1829. The statuę was cast in bronze
by J. Gregoire and finished in 1832. During the period
following the Uprising of 1830 it was impossible to set it up
in Warsaw. It was moved to Modlin in 1834 and later
Homel, a residence of Paskewich. After the Soviet govern-
ment had returned it in 1923, it was set up in front of the
Saski (Saxon) Pałace in Warsaw, where it was destroyed in
1944. A new cast was madę from the original model in
Copenhagen an subsequently brought to Warsaw as a gift
from the city of Copenhagen. In 1952 the statuę was set up
in front of the Orangery at Łazienki and moved in 1965 to
the courtyard of the Presidium of the Council of Ministers,
whose neoclassical architecture provided a good setting for
this work by Thorvaldsen. The statuę of Poniatowski
illustrates well the creative method of this sculptor; it
eonsists in the reduction of a national hero to the classical
pattern of an equastrian monument (in this case, that of
Marcus Aurelius at the Roman Capitol). Prince Józef poses
as a Roman leader, with only the features of his face treated
realistically. The Warsaw monument is considered one of
the best works by Thorvaldsen.
Bibliography: Lorentz, On the Sculpture Acąuisitions, p. 294
284
Bibliography: Król, RoyalCastiein Warsa w, p. 123; Kaczmarzyk, Polish
Sculpture, iłem 95, pp. 42-43
Jan Regulski (c. 1760-1807)
218 [200] Cameo with a bust of Tadeusz Kościuszko,
c. 1794; 4.7x3.4; National Museum in Cracow, inv. no
EW-IV-ZŁ-1607
Jan Regulski, sculptor and medallist, studied in Italy.
When he returned to Poland in 1783 he began working for
King Stanislas Augustus. He also madę intaglios, cameos
and smali reliefs with images of the outstanding persons of
his times. His art was particulariy appreciated in that epoch
of a return to antiquity. Regulski freąuently stylized his
models on ancient leaders and heroes. An example of such
stylization is this smali portrait of Tadeusz Kościuszko, in
the pose of an ancient leader; with only the revolutionary
symbols on the shield relating the representation to con-
temporary times.
Bibliography: Historia sztuki polskiej (A History of Polish Art - in
Polish), vol. III, Cracow 1962, p. 77
Antonio Canova (1757-1822)
219 [201] Memoriał statuę of Henryk Lubomirski, 1787,
marble, about 140 cm; Łańcut Museum, inv. no S 2232
MŁ
Canova was the most outstanding European sculptor of the
turn of the 18th and 19th centuries and, apart from
Thorvaldsen, exerted the greates influence on the devel-
opment of neoclassical sculpture. He had only one Polish
commission, a statuę of Henryk Lubomirski, although
King Stanislas Augustus tried to win his interest for
a group representing Venus and Adonis. The statuę in
question was madę at request of Duchess Elżbieta Lubo-
mirska, nee Czartoryska, wife of the Marshal. The artist
represented Henryk Lubomirski as Amor standing, lean-
ing on a bow. This iconographic type was, like other
works by Canova, inspired by classical sculpture. Jn
creating the famous statues of Venus, Three Graces,
Perseus or the recumbent one of Paulina Borghese, Canova
worked in an analogous way. The artist repeated the statuę
of Lubomirski, replacing the head of the model by one with
ideał features and calling the new composition “Amor”.
Bibliography: Lorentz, On the Sculpture Acąuisitions, p. 289; Kossako-
wska-Szanajca, Majewska-Maszkowska, Łańcut Castle, pp. 111, 160,
212, 213, 393
Bertel Thorvaldsen (1768-1844)
220 [202] Memoriał statuę of Nicolaus Copernicus, 1830;
bronze; situated against the background of Staszic Pałace
in Warsaw
The work of Thorvaldsen, a Danish sculptor, included
some Polish commissions. For his Polish customers he
executed a dozen or so sculptures, including the statues of
Nicolaus Copernicus, Włodzimierz Potocki, Ganimedes
and Prince Józef Poniatowski. Thorvaldsen signed the
contract for the statuę of Nicolaus Copernicus in 1820; he
madę drafts in 1822-1828. The model was brought to
Warsaw in 1828 and was castin bronze by A. J. Norblinand
J. Gregoire (the latter finished the casting). It was unveiled
in 1830. After the damage of 1944 the statuę was reset on
July 22, 1945. It was renovated in 1949, under the supervi-
sion of S. Jagmin, and unveiled again on July 22, 1949.
In the statuę of Copernicus the artist solved the difficult
sculptural problem of the monumental representation of
a seated figurę. He achieved the desired effect, primarily as
a result of the use of a toga as the astronomer’s dress, which
provided the compact composition sought for by the
sculptor. It is interesting to notę the high artistic value of
the realistically treated head of the scholar. Thorvaldsen
managed in an excellent way to fit the memoriał into the
neoclassical architecturał setting of the Staszic Pałace in the
background.
Bibliography: Lorentz, On the Sculpture Acąuisitions, pp. 294-295
Bertel Thorvaldsen
221 [203] Memoriał statuę of Prince Józef Poniatowski,
1832; bronze; situated against the background of the pałace
of the Presidium of the Council of Ministers in Warsaw
Thorvaldsen signed the contract for the statuę of Prince
Józef Poniatowski in 1818, and added to it in 1818 and
1820. He madę draft designs in 1822-1827. The model was
brought to Warsaw in 1829. The statuę was cast in bronze
by J. Gregoire and finished in 1832. During the period
following the Uprising of 1830 it was impossible to set it up
in Warsaw. It was moved to Modlin in 1834 and later
Homel, a residence of Paskewich. After the Soviet govern-
ment had returned it in 1923, it was set up in front of the
Saski (Saxon) Pałace in Warsaw, where it was destroyed in
1944. A new cast was madę from the original model in
Copenhagen an subsequently brought to Warsaw as a gift
from the city of Copenhagen. In 1952 the statuę was set up
in front of the Orangery at Łazienki and moved in 1965 to
the courtyard of the Presidium of the Council of Ministers,
whose neoclassical architecture provided a good setting for
this work by Thorvaldsen. The statuę of Poniatowski
illustrates well the creative method of this sculptor; it
eonsists in the reduction of a national hero to the classical
pattern of an equastrian monument (in this case, that of
Marcus Aurelius at the Roman Capitol). Prince Józef poses
as a Roman leader, with only the features of his face treated
realistically. The Warsaw monument is considered one of
the best works by Thorvaldsen.
Bibliography: Lorentz, On the Sculpture Acąuisitions, p. 294
284