DOI Artikel:
Janczyk, Agnieszka: Portrety wiązane z janem Chrzcicielem lampim Starszym w zbiorach wawelskich
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19890#0228
author’s doubts; in her opinion the picture should rather be linked
with the father, this being indicated by the features characteristic of
his works, such as the subject’s pose, the colouring, and also the
modę ofpainting the flesh areas, textiles, and jewellery. The signatum
uncovered during conservation confiiTned that the attribution of the
painting to Jan Chrzciciel Lampi the Elder had been justified. The
author believes that the portrait of Rozalia Rzewuska nee Lubomirska
was executed - in accordance with the above-mentioned inscription
- in 1814, surely in Vienna, where the model was staying then.
The last of the pictures - Portrait of Ignacy Potocki - was
considered a work by Jan Chrzciciel Lampi, this attribution being
later confirmed by Stanisław Kozak in a museum card with the dating
to about 1791. The author of the paper carried out analysis of two
portraits of Ignacy Potocki painted by Mateusz Tokarski, which are
stored in the Wilanów collections, compared them with the Wawel
piece and concluded that the latter was beyond doubt a repetition of
Tokarski’s work. The Wawel version of the portrait, despite
conspicuous simiłarities, is artistically inferior to the prototype by
Tokarski. The preliminary examinations of the canvas and ground
performed during conservation demonstrated that the picture must
have been executed about 1830. thus many years later than the
Wilanów pieces. It is possible that the scholars first attributing the
painting to Lampi the Elder were influenced by the composition of
the portrait, typical of Lampi who liked to depict his models bust-
length. wearing a dress coat or uniform, and shown against a neutral.
greenish-grey background.
Close analysis of three Wawel portraits by the author of the present
paper permitted their morę precise attribution as well as datę of origin.
The portrait of Rozalia Rzewuska was unąuestionably painted by Jan
Chrzciciel Lampi the Elder; this artist undoubtedly had a hand in the
execution of the likeness of Aleksander Sapieha, but he is not the
author of the portrait of Ignacy Potocki, inferior to the other two.
with the father, this being indicated by the features characteristic of
his works, such as the subject’s pose, the colouring, and also the
modę ofpainting the flesh areas, textiles, and jewellery. The signatum
uncovered during conservation confiiTned that the attribution of the
painting to Jan Chrzciciel Lampi the Elder had been justified. The
author believes that the portrait of Rozalia Rzewuska nee Lubomirska
was executed - in accordance with the above-mentioned inscription
- in 1814, surely in Vienna, where the model was staying then.
The last of the pictures - Portrait of Ignacy Potocki - was
considered a work by Jan Chrzciciel Lampi, this attribution being
later confirmed by Stanisław Kozak in a museum card with the dating
to about 1791. The author of the paper carried out analysis of two
portraits of Ignacy Potocki painted by Mateusz Tokarski, which are
stored in the Wilanów collections, compared them with the Wawel
piece and concluded that the latter was beyond doubt a repetition of
Tokarski’s work. The Wawel version of the portrait, despite
conspicuous simiłarities, is artistically inferior to the prototype by
Tokarski. The preliminary examinations of the canvas and ground
performed during conservation demonstrated that the picture must
have been executed about 1830. thus many years later than the
Wilanów pieces. It is possible that the scholars first attributing the
painting to Lampi the Elder were influenced by the composition of
the portrait, typical of Lampi who liked to depict his models bust-
length. wearing a dress coat or uniform, and shown against a neutral.
greenish-grey background.
Close analysis of three Wawel portraits by the author of the present
paper permitted their morę precise attribution as well as datę of origin.
The portrait of Rozalia Rzewuska was unąuestionably painted by Jan
Chrzciciel Lampi the Elder; this artist undoubtedly had a hand in the
execution of the likeness of Aleksander Sapieha, but he is not the
author of the portrait of Ignacy Potocki, inferior to the other two.