Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help

  1. 2 Biuletyn Historii Sztuki

Authors help

  1. 2 Pokora J.

Years help

  1. 1 2007

  2. 1 2005

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

A PORTRAIT CONCEIVED IN ACCORDANCE WITH THE PRINCIPLES OF REBUS? HENRYK LUBOMIRSKI AS THE GENIUS OF FAME, BY ELISABETH VIGÉE LEBRUN (1789)

100%
Pokora J.
Biuletyn Historii Sztuki
|
2007
|
vol. 69
|
issue 1-2
37-56
EN
Brought up by a blood relation of princess Izabella Lubomirska of the Czartoryskis, prince Henryk Lubomirski (1777-1850) was apparently renowned among the aristocracy of Europe for his good looks; hence the portraits by, amongst others, Angelica Kauffmann and Antonio Canova's celebrated sculpture, depicting the youth most typically as Amour naked. Elisabeth Vigée-Lebrun portrayed the boy three times. The subject of this article is the portrait defined by the artiste as 'Le petit prince Lubomirski, en amour de la Gloire'. It is claimed that a replica of the portrait gave rise to the painting known as 'La Génie de l'Empereur Alexandre I' (housed in the Hermitage). The standard interpretation found in previous publications on the subject is categorically rejected that he (Lubomirski) is 'the genius of fame' (Fama). The key to solving the question lies in the way Vigée-Lebrun defined the work, bearing in mind that the personifications depicted thus far have been misinterpreted. Reference is additionally made to portraits bearing titles that were riddles of the names of those depicted, one of Henryk Lubomirski actually being attributed by the article's author to Izabella Czartoryska.
2
Content available remote

DEO & PATRIAE: PORTRAITS OF BISHOP-CHANCELLORS OF THE POLISH-LITHUANIAN 'RESPUBLICA' FROM THE 17TH AND 18TH CENTURIES

100%
Pokora J.
Biuletyn Historii Sztuki
|
2005
|
vol. 67
|
issue 3-4
223-238
EN
The author's objective is to draw attention to the iconography of these offices, until now largely overlooked, by selecting a group of portraits dating from the 17th century. At the moment these works arose only two of their subjects would have still been in office, but in almost each case the official insignia was placed on the portrait. The author endeavours to explain this phenomenon, indicating that the bishops were depicted according to a convention typical of representative portraiture. The duality of functions performed by such figures, state and clerical, was glorified in their coat-of-arms, in spite of the fact that a law of 1650 forbad any bearer of the status of Chancellor also being a member of the Catholic clergy. In conclusion, the author states full consideration is possible of the subject 'bishop as chancellor' by focusing on two fields of research: one general and the other specific in relation to administering the Polish-Lithuanian Respublica, but as a result of the current state of studies it is difficult to establish whether the dating of portraits based on the seal of office depicted is actually correct.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.