DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0286
Bertel Thorvaldsen
222 [204] Statuę of Włodzimierz Potocki, 1820-1830;
marble; Cracow, Wawel Cathedral, Chapel of the Holy
Trinity
Włodzimierz Potocki, son of Szczęsny Potocki and Józefa
Amalia, nee Mniszech, died in 1812. His monument was
the most outstanding sepulchral sculpture that Thorvald-
sen madę for Poland. Negotiations on the commission of
the sculpture had continued sińce 1816, and Thorvaldsen
signed the contract with Tekla Potocka, nee Sanguszko,
widów of Włodzimierz, in 1820. Eventually the statuę was
sculpted in 1830 and set up in the Cathedral in 1831. The
conception of the work was directly derived from the
ancient statuę of Apollo Behedere, of which Thorvaldsen’s
sculpture was a recreation. On the plinth of the monument
there is a relief representing a winged genius of death,
which was sculpted in 1829.
Bibliography: Lorentz, On the Sculpture Acąmsitiom, pp. 298-306
Jakub Tatarkiewicz (1798-1854)
223 [205] Maternal Love, c. 1828; marble, 60x64; Tatar-
kiewicz family, Warsaw
In the first quarter of the 19th century, in the representa-
tional arts, particularly in neoclassical sculpture, an ideał
artistic work was one that did not copy Naturę, but
imitated it instead. This imitation was to be effected by the
simplest means, bereft of any illusion. In order to imple-
ment this ideał, artists would study both Naturę and
antiąuity. In his “Materna! Love” Tatarkiewicz drew upon
ancient masterpieces; but there was in his work a good deal
of warmth, the charm of gesture and delicacy, alien to
ancient imagination. This gave the sculpture a specific
impress of the epoch when the dignity of the antiąuity
combined with good-natured sentimentalism.
Bibliography: W. Tatarkiewicz, Rzeźbiarz, polskiego klasycyzmu (The
Sculptor of Polish Neoclassicism), (in:) O sztuce polskiej XVII i XVIII
wieku iOn the Polish Art of the Iklh aml 19th Centuries-in Polish),
Warsaw 1966, pp. 484-485
Jakub Tatarkiewicz
224 [206] Dying Psyche; marble, 68 x 106; signed “Tatar-
kiewicz f. 1830”; National Museum in Warsaw, inv. no 46
The model for this composition was executed in Romę
before 1828, and the sculpture itself in 1830, when the
artist had returned from Italy. In Romę Tatarkiewicz had
worked under the influence of his great master, Thorvald-
sen, strictly observing the classical patterns and canons.
The sculpture “Dying Psyche” is the best work by Tatar-
kiewicz.
Bibliography: W. Tatarkiewicz, D. Kaczmarzyk, Klasycyzm i roman-
tyzm w rzeźbie polskiej (Neoclassicism and Romanticism in Polish
Sculpture - in Polish), “Sztuka i Krytyka”, VII, 1956, nos 1-2,
pp. 57-59; W. Tatarkiewicz, Rzeźbiarz polskiego klasycyzmu (The
Sculptor of Polish Neoclassicism), (in:) O sztuce polskiej XVII i XVIII
wieku (On the Polish Art of the 17th and 18th Centuries - in Polish),
Warsaw 1966, p. 481
Ludwik Kaufmann (1801-1855)
225 [207] Natolin, park, the statuę of Natalia Sanguszko,
nee Potocka, 1836; grey sandstone, with the inscription on
the wali of the tomb: “Alexander hrabia Potocki pamięci
jedyney córki Natalji xiężnej Sanguszkowey zgasłey
w kwiecie wieku 1830 roku ten pomnik poświęcił” (Ale-
xander Count Potocki has dedicated this monument to the
memory of his only daughter Natalia, Duchess Sanguszko,
who died in her prime in 1830)
The architectural setting of the memoriał statuę of Natalia
Sanguszko, nee Potocka, is provided by a semi-circular
niche contained on either side by screening walls. In this
niche, on a double foundation and a plinth, there is
a sarcophagus with a half-recumbent figurę of Natalia. The
sarcophagus was patterned on the classical one of Scipio;
the statuę itself was indirectly modelled on Etruscan
sarcophagi and directly on some works by Antonio Canova,
particularly the sculptures representing Paulina Borghese
and Dirce. In 1818-1828 Kaufmann studied under the
supervision of A. Canova; therefore his relationship with
the works of his master seems self-evident.
Bibliography: Lorentz, Natolin, pp. 260-261
Ludwik Kaufmann
226 [208, 209] Warsaw, 15 Miodowa Street, Pac’s pałace,
relief on the frieze of the gate, 1826
The subject of the frieze adorning the gate was a scene from
the history of ancient Romę, representing the declaration
by Consul Titus Quintus Flaminius, at the Corinthian
games, of freedom for the Greek towns. In the centre the
Consul is shown surrounded by his soldiers; on the left, two
chariots stopping and, on the right, civilians and soldiers
can be seen. The choice of the subject of a declaration of
freedom was a distinct allusion to the political situation in
the Kingdom of Poland. The saturation of subject matter
drawn from the history of the ancient world by contempo-
rary ideas was one of the essential features of neoclassical
art. The form of the frieze, the closest among munumental
Warsaw sculptures to the ancient prototypes, is also in
accord with the subject matter.
Bibliography: A. Bartczakowa, Pałac Paca (Pac’s Pałace - in Polish),
Warsaw 1973, pp. 68-69
Paweł Maliński (1790-1853)
227 [211] Workers Building a Road, model for the Monu-
ment of Labour, relief, plaster-of-Paris, 86x68; National
Museum in Warsaw, inv. no 158314/4
In 1825, at the initiative of Stanisław Staszic, a memoriał
was set up on the present Grochowska Street in Warsaw to
commemorate the construction of the Brześć road. It was in
the form of an obelisk, on which were set nine reliefs
285
222 [204] Statuę of Włodzimierz Potocki, 1820-1830;
marble; Cracow, Wawel Cathedral, Chapel of the Holy
Trinity
Włodzimierz Potocki, son of Szczęsny Potocki and Józefa
Amalia, nee Mniszech, died in 1812. His monument was
the most outstanding sepulchral sculpture that Thorvald-
sen madę for Poland. Negotiations on the commission of
the sculpture had continued sińce 1816, and Thorvaldsen
signed the contract with Tekla Potocka, nee Sanguszko,
widów of Włodzimierz, in 1820. Eventually the statuę was
sculpted in 1830 and set up in the Cathedral in 1831. The
conception of the work was directly derived from the
ancient statuę of Apollo Behedere, of which Thorvaldsen’s
sculpture was a recreation. On the plinth of the monument
there is a relief representing a winged genius of death,
which was sculpted in 1829.
Bibliography: Lorentz, On the Sculpture Acąmsitiom, pp. 298-306
Jakub Tatarkiewicz (1798-1854)
223 [205] Maternal Love, c. 1828; marble, 60x64; Tatar-
kiewicz family, Warsaw
In the first quarter of the 19th century, in the representa-
tional arts, particularly in neoclassical sculpture, an ideał
artistic work was one that did not copy Naturę, but
imitated it instead. This imitation was to be effected by the
simplest means, bereft of any illusion. In order to imple-
ment this ideał, artists would study both Naturę and
antiąuity. In his “Materna! Love” Tatarkiewicz drew upon
ancient masterpieces; but there was in his work a good deal
of warmth, the charm of gesture and delicacy, alien to
ancient imagination. This gave the sculpture a specific
impress of the epoch when the dignity of the antiąuity
combined with good-natured sentimentalism.
Bibliography: W. Tatarkiewicz, Rzeźbiarz, polskiego klasycyzmu (The
Sculptor of Polish Neoclassicism), (in:) O sztuce polskiej XVII i XVIII
wieku iOn the Polish Art of the Iklh aml 19th Centuries-in Polish),
Warsaw 1966, pp. 484-485
Jakub Tatarkiewicz
224 [206] Dying Psyche; marble, 68 x 106; signed “Tatar-
kiewicz f. 1830”; National Museum in Warsaw, inv. no 46
The model for this composition was executed in Romę
before 1828, and the sculpture itself in 1830, when the
artist had returned from Italy. In Romę Tatarkiewicz had
worked under the influence of his great master, Thorvald-
sen, strictly observing the classical patterns and canons.
The sculpture “Dying Psyche” is the best work by Tatar-
kiewicz.
Bibliography: W. Tatarkiewicz, D. Kaczmarzyk, Klasycyzm i roman-
tyzm w rzeźbie polskiej (Neoclassicism and Romanticism in Polish
Sculpture - in Polish), “Sztuka i Krytyka”, VII, 1956, nos 1-2,
pp. 57-59; W. Tatarkiewicz, Rzeźbiarz polskiego klasycyzmu (The
Sculptor of Polish Neoclassicism), (in:) O sztuce polskiej XVII i XVIII
wieku (On the Polish Art of the 17th and 18th Centuries - in Polish),
Warsaw 1966, p. 481
Ludwik Kaufmann (1801-1855)
225 [207] Natolin, park, the statuę of Natalia Sanguszko,
nee Potocka, 1836; grey sandstone, with the inscription on
the wali of the tomb: “Alexander hrabia Potocki pamięci
jedyney córki Natalji xiężnej Sanguszkowey zgasłey
w kwiecie wieku 1830 roku ten pomnik poświęcił” (Ale-
xander Count Potocki has dedicated this monument to the
memory of his only daughter Natalia, Duchess Sanguszko,
who died in her prime in 1830)
The architectural setting of the memoriał statuę of Natalia
Sanguszko, nee Potocka, is provided by a semi-circular
niche contained on either side by screening walls. In this
niche, on a double foundation and a plinth, there is
a sarcophagus with a half-recumbent figurę of Natalia. The
sarcophagus was patterned on the classical one of Scipio;
the statuę itself was indirectly modelled on Etruscan
sarcophagi and directly on some works by Antonio Canova,
particularly the sculptures representing Paulina Borghese
and Dirce. In 1818-1828 Kaufmann studied under the
supervision of A. Canova; therefore his relationship with
the works of his master seems self-evident.
Bibliography: Lorentz, Natolin, pp. 260-261
Ludwik Kaufmann
226 [208, 209] Warsaw, 15 Miodowa Street, Pac’s pałace,
relief on the frieze of the gate, 1826
The subject of the frieze adorning the gate was a scene from
the history of ancient Romę, representing the declaration
by Consul Titus Quintus Flaminius, at the Corinthian
games, of freedom for the Greek towns. In the centre the
Consul is shown surrounded by his soldiers; on the left, two
chariots stopping and, on the right, civilians and soldiers
can be seen. The choice of the subject of a declaration of
freedom was a distinct allusion to the political situation in
the Kingdom of Poland. The saturation of subject matter
drawn from the history of the ancient world by contempo-
rary ideas was one of the essential features of neoclassical
art. The form of the frieze, the closest among munumental
Warsaw sculptures to the ancient prototypes, is also in
accord with the subject matter.
Bibliography: A. Bartczakowa, Pałac Paca (Pac’s Pałace - in Polish),
Warsaw 1973, pp. 68-69
Paweł Maliński (1790-1853)
227 [211] Workers Building a Road, model for the Monu-
ment of Labour, relief, plaster-of-Paris, 86x68; National
Museum in Warsaw, inv. no 158314/4
In 1825, at the initiative of Stanisław Staszic, a memoriał
was set up on the present Grochowska Street in Warsaw to
commemorate the construction of the Brześć road. It was in
the form of an obelisk, on which were set nine reliefs
285