DOI Artikel:
Kazubowska, Joanna: Dwaj książęta i moda: Studium wartości poznawczej strojów i tkanin w malarstwie na przykładzie portretów autorstwa Bartłomieja Strobla (1591–ok. 1647)
Zitierlink: https://digi.ub.uni-heidelberg.de/diglit/modus2020/0097
well-thought-out manoeuvre that was tailored to the pursuit of specific goals
in the policy of self-creation and representation of the portrayed persons. Both
Władysław Dominik Zasławski-Ostrogski and Janusz Radziwiłł used the oppor-
tunity to emphasize their modernity and familiarity with the world, expressed
with the aid of avant-garde apparels that have just entered the canon of fashion
in England, France, and the Netherlands. Garments from these parts were eagerly
worn by both Catholics and Protestants.
The social standing of Strobels models undoubtedly had a fundamental impact
on the clothes they wore, which became an ideological carrier of content, visually
confirming the belonging of the portrayed individual to a specific social stratum.
Also for this reason, it should be accepted as a fact that the costumes presented in
the paintings reflect the actual clothes, rather than being the effect of the painter s
fantasy. This belief is also shared by Lisa Monnas and Aileen Ribeiro, who claimed
that the clothes in portraits painted by Strobel reflect the fashion at the time very
closely In addition, they specified that this is not an effect of generalization, vis-
ible, for example, in the “romantic” costumes of characters from the paintings
of Antoon van Dyck (1599-1641) who was Strobels contemporary,but that these
are realistically presented clothes, madę in accordance with the canons of the latest
fashion, the changes of which (within but a few years) the painter recorded very
carefully.120 We might say that the measly State of possession of original costumes
from the period in museum collections (especially those found in Poland) means
that the perfectly rendered garments in Strobels paintings constitute the main
source of information about fashion in the Polish-Lithuanian Commonwealth
in the first half of the seventeenth century •
120 The researchers’ observations were clarified during the correspondence by e-mail.
Two princes and the fashion...
97
in the policy of self-creation and representation of the portrayed persons. Both
Władysław Dominik Zasławski-Ostrogski and Janusz Radziwiłł used the oppor-
tunity to emphasize their modernity and familiarity with the world, expressed
with the aid of avant-garde apparels that have just entered the canon of fashion
in England, France, and the Netherlands. Garments from these parts were eagerly
worn by both Catholics and Protestants.
The social standing of Strobels models undoubtedly had a fundamental impact
on the clothes they wore, which became an ideological carrier of content, visually
confirming the belonging of the portrayed individual to a specific social stratum.
Also for this reason, it should be accepted as a fact that the costumes presented in
the paintings reflect the actual clothes, rather than being the effect of the painter s
fantasy. This belief is also shared by Lisa Monnas and Aileen Ribeiro, who claimed
that the clothes in portraits painted by Strobel reflect the fashion at the time very
closely In addition, they specified that this is not an effect of generalization, vis-
ible, for example, in the “romantic” costumes of characters from the paintings
of Antoon van Dyck (1599-1641) who was Strobels contemporary,but that these
are realistically presented clothes, madę in accordance with the canons of the latest
fashion, the changes of which (within but a few years) the painter recorded very
carefully.120 We might say that the measly State of possession of original costumes
from the period in museum collections (especially those found in Poland) means
that the perfectly rendered garments in Strobels paintings constitute the main
source of information about fashion in the Polish-Lithuanian Commonwealth
in the first half of the seventeenth century •
120 The researchers’ observations were clarified during the correspondence by e-mail.
Two princes and the fashion...
97