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Grotesque and symbolic representation of kingcraft. Decoration of Dining Room in White House of Lazienki Park in Warsaw

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Bernatowicz A.
Rocznik Historii Sztuki
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2004
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vol. 29
183-202
EN
This article is devoted to 'genre arabesque' wall decoration embellishing the Dining Room on the ground floor of the White House, the Polish king Stanislaus Augustus Poniatowski's summer 'maison de plaisance' in the Lazienki Park in Warsaw. The polychromy was made approximately in 1777 by Jan Bogumil Plersch (1732-1817), the king's painter in ordinary. In formal terms, it appears to be closest to the grotesque decoration of Salone d'Ingresso of Villa Borghese in Rome (1778). The decoration of grotesque motives in the Dining Room of the White House was composed of presentations of the Four Elements, four parts of the world, seasons, zodiak signs and country works related to them. The king's role as of the guarantor of fixed law and order as well as of welfare is undoubtedly the key one in that micro cosmos. The allegories of Four Continents stress the ruler's supremacy. The underlain ideas on the walls of Warsaw interior thus appeal to the problems of power wielding, its ideological foundations and values an ideal monarch goes by. Stanislaus Augustus as a ruler of a collapsing state might have consciously taken pattern by an ideological decoration concept of apartments in the Wilanów Palace that belonged to Jan III Sobieski - the last monarch of a mighty Polish Commonwealth. 6 Illustrations.
2

Italian sculptors of the king's Stanislaus Augustus court

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Mikocka-Rachubowa K.
Rocznik Historii Sztuki
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2004
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vol. 29
49-120
EN
In the late 60s of the 18th century, in the last king of Poland Stanislaus Augustus' court, the studio of sculpture came into being. Works for the decoration of the king's palaces were created there. The director of this studio was the French sculptor André Le Brun, appointed by the king in Rome. His co-workers were exclusively Italians. By bringing them to Poland and performing the protectorate over their activity, Stanislaus Augustus created a significant center of sculpture in his court. The purpose of this article is to describe the activity of Italian sculptors, engaged by the king, who also worked for people from his circle. All of the works by Giacomo Monaldi (1733-1798) who came from Rome to Warsaw in the late 60s of the 18th century and later died there, concerned Poland. The three Staggi brothers from Carrara: Francesco Maria (1755-1788), Giovachino (1761-1809) and Pietro (1754-after 1814), are also famous mainly for the works which were completed for Stanislaus Augustus. On the contrary, Tommaso Righi (1727-1802) spent nearly all his life in Rome, where he created many well known pieces of sculpture. He came to Poland when he was almost 60 and lived there until the end of his life. Giacomo Contieri, the sculptor from Venice, also worked in Stanislaus Augustus' court in the 80s of the 18th century. In the archives we can find many works by Italian 'formatori' Davino Cristofani and Giuseppe Pellegrini, engaged by the court during this period. In 1787-1794, the 'marble factory' was also working near the quarries in Debnik, near Cracow. It employed mostly Italians coming from Carrara; the most remarkable of them was Leonardo Galli (1760-1812). After the abdication of Stanislaus Augustus, some of his sculptors left, seeking employment elsewhere; others remained in Poland but the king's center of sculpture ceased to exist in the mid 90s of the 18th century. 41 Illustrations.
3

Miniatures from the collection of Stanislaus Augustus Poniatowski

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Chiron-Mrozowska A.
Rocznik Historii Sztuki
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2004
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vol. 29
121-182
EN
The written sources are the ones that play the main role in the research on previous art collections. They are extremely important when the works of art themselves were dispersed. It is the case of the set of King Stanislaus Augustus Poniatowski's miniatures. Six inventories of the collection, written between 1783 and 1819, have been saved in PoIish archives. They allow to discuss the set which at the end of Stanislaus Augustus' rule consisted of approximately 300 miniatures. A systematic analysis and confrontation of the inventory descriptions of particular items leeds to the reconstrution of an 'ideal' catalogue, allows to characterize this set deeper, to show its structure and function as well as the value and provenance of the works of art. It also helps us to find out information on the authors of the miniatures and on the iconographic sources. It is obvious that Stanislaus Augustus had a high opinion on his collection of miniatures as he was going to take the whole of it away to the emigration. However, his intention was not realized. The set, which was sold in 1821, has been dispersed. Although some of the miniatures, which might be considered to have their origin from the King Stanislaus Augustus' collection, have been found in Polish and foreign collections, the greatest amount of them are still not being recognized. They are still worth further searching. 14 Illustrations.
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