Oryginalny artykuł naukowy

Historia Antiocha i Stratoniki : uwagi o obrazie Józefa Oleszkiewicza w Muzeum Litewskim w Wilnie

2000, 43, Tom 43, Nr A

Jerzy Miziołek

Muzeum Uniwersytetu Warszawskiego

DOI

Data publikacji

04.01.2000

Model publikowania

open access

Rodzaj licencji

CC BY 4.0 Int.

Dziedzina

Dziedzina nauk humanistycznych

Dyscyplina

archeologia

Język publikacji

polski

Pliki do pobrania

PDF 28 MB

Artykuł

Liczba wyświetleń:45

Liczba pobrań:7

Cytowania Crossref:0

Wynik Altmetric:0

Abstrakt

Jednym z najbardziej interesujących obrazów jakie pokazano w czasie warszawsko-wileńskiej wystawy w Muzeum Narodowym w Warszawie na przełomie 1999/2000 pt. „W kręgu wileńskiego klasycyzmu" było duże płótno Józefa Oleszkiewicza (1777-1830) zatytułowane „Antioch i Stratonika" (Fig. 1) z 1810 r.1 Dla większości zwiedzających wystawę, w tym dla piszącego te słowa, było to pierwsze zetknięcie się z tym obrazem należącym do Lietuvos Dailes Muziejus w Wilnie i nie pokazywanym dotąd w Polsce. Przynajmniej do 1967 r. obraz był nieznany nawet wybitnemu znawcy epoki Andrzejowi Ryszkiewiczowi, który w swym studium o recepcji twórczości Davida w sztuce polskiej przywołał taki oto, niepublikowany wcześniej zwięzły opis malowidła pióra Zygmunta Batowskiego: „Wielka klasycystycznoakademicka kompozycja. Scena umierania. Młodzieniec i grupa osób<br>THE STORY OF THE ANTIOCHUS AND STRATONICE BY A PUPIL OF J . L. DAVID: JÓZEF OLESZKIEWICZ'S PAINTING IN THE LITHUANIAN MUSEUM IN VILNIUS. The present paper deals with a little known canvas housed in the Lithuanian Museum in Vilnius depicting "The Story of Antiochus and Stratonice" executed in 1810 by a Polish/Lithuanian painter Józef Oleszkiewicz (1777-1830). He studied painting under Franciszek Smuglewicz at the University of Vilnius since 1797 and then in Paris between 1803 and 1806 he was a pupil of J. L. David and J. S. Barthelemy. The painting in question was in the end of 1999 presented in the National Museum in Warsaw during the exhibition "Around the Vilnius' Classicismus". Neither it's literary sources nor the context in which it was produced has ever been discussed. The present paper is an attempt to fill this gap. Although the "Story of Antiochus and Stratonice" is to be found in the works ofseveral writers both ancient and modern, among them Valerius Maximus, Appian, Pseudo-Lucian and Petrarch, the key-author for the Vilnius painting may have been Plutrach. Our love-affair story is narrated in one of his famous Lives i.e. the one devoted to Demetrius, whitch as early as an 1470 was translated into Latin and not before long it was available in many European languages. Antiochus was the son of Seleucus I Nicator-one of the generals of Alexander the Great and then, after his death, the founder of the dynasty that ruled the Asian provinces. Antiochus fell in love with his beautiful stepmother Stratonice, "who was young and was already mother of a little boy by Seleucus". After having tried without success to his passion he began to starve himself to death. It was his physician Erasistratus, who easily guessed the nature his illness: "Wishing to discover who was the object of his passion-Plutrach relates-he would spend day after day in the young man's chamber and if any of the beauties of the court came in, male or female, he would study the countenance ofAntiochus, and watch those parts and movements of his person which nature has made to sympathise most inclinations of the soul. Accordingly, when anyone else came in, Antiochus showed no change; but whenever Stratonice came to see him, as she often did, either alone or with Seleucos, those tell-tale sings of whitch Sappho sings were all there in him - stammering speech, fiery flushes, darkened vision, sudden sweats, irregular palpitation of the heart and finally, as his soul was taken by storm, helplessness, stupor and pallor." Having made his discovery he informed Seleucos, who immediately abandoned his wife to his son. However, in order to obtain this favourable decision whitch saved Antiochus live, Erasustratus used a stratagem. He told the king, that Antiochus is in love with his (the doctor's) wife, and only after having been fervently entreated by the king to cede his wife to the prince, he related the truth. "Consequently -Plutrach continues-Seleucus called an assembly of the entire people and declared to be his wish and purpose to make Antiochus king of Upper Asia, and Stratonice his queen, the two being husband and wife; he also declared it to be his opinion that his son, accus-tomed as he was to be submissive and obedient in all things, would not oppose his father in this marriage; and that if his wife were reculant to take this extraordinary step, he called upon his friends to teach and persuade her to regarde as just and honourable whatever seemed good to the king and conductive to the general welfare. On this wise [...] Antiochus and Stratonice became husband and wife" The canvas from Vilnus depicts the moment when Erasistratus guessed the reason of Antiochus's illness and Seleucus is about to join hands of Stratonice and her new husband sitting on the bed. There is one more witness to this scene-a women dressed green, standing on the left, behind Erasistratus, who is sitting on a chair; she certainly is his wife, who also played an important role in the tale. Thus Oleszkiewicz represented simultaneously at least two events: the discovery of the nature of Antiochus's illness and the wedding scene in the presence of doctor's wife, who was one of the dramatispersonae of Erasistratus's stratagem. The comparative material consisting of paintings and drawings executed by David, Girodet-Trioson and Ingres, among others, clearly shows that Oleszkiewicz painted a truly interesting version of the story. Although he followed the mature style of David, his composition is original and individual. It is to be noted however, that to some degree Oleszkiewicz's canvas echoes an early painting of his French master (dating 1774) with the same story, housed in the Musée des Beaux Arts in Paris (Fig. 7). David's composition is still half-baroque, but it includes Erasistratus's wife, who kneels on the left side behind Stratonice. Besides, as in the canvas in question also David's painting depicts simultaneously two scenes. Oleszkiewicz's masterpiece is an excellent instance of the impact of David's painting on Polish/Lithuanian art. Another interesting case in point is Antoni Brodowski's canvas depicting "Saul's Anger with David" in the National Museum in Warsaw, produced between 1812 and 1819 (Fig. 12). Like Oleszkiewicz he also studied in Paris with J. L. David.

Bibliografia

APPIAN'S ROMAN HISTORY 1932 Appian's Roman History, with an English trans. by H. White, vol. 2, London-New York.

APPIAN Z ALEKSANDRII 1957 Appian z Aleksandrii, Historia rzymska, vol. 1, trad. L. Piotrowicz, Wrocław.

BRUNI L. 1817 Novella di Lionardo Bruni Aretino, (con l'Introduzione di Giovanni de'Brignoli di Brunnhoff), Verona.

LUCIAN 1925 The Goddess ofSurrye (Syria), in: Lucian, with an English trans. by A.M. Harmon, vol. 4, London-New York.

LUKIAN 1966 Dialogi, vol. 3, trad. W. Madyda, Wrocław.

PETRARCH 1962 Triumphs = The Triumphs of Petrarch, trad. E. H. Wilkins, Chicago.

PLUTARCH 1920 Demetrius, in: Plutarch's Lives, with an English trans. by B. Perrin, vol. 9, London-New York, p. 92-97

PLUTARCO (cap. XXXVIII, 2). 1470 Vite di Plutarco, ed. princeps curata da Giovanni Antonio Campano, Hulrich Han, Roma.

VALERIO MASSIMO 1988 Detti e fatti memorabili (testo latino a fronte), a cura di R. Faranda, Torino.

THE AGE OF NEO-CLASSICISM 1972 The Age of Neo—Classicism (The Fourteenth Exhibition of the Council of Europe - The Royal Academy and the Victoria & Albert Museum, London, 9 September -19 November 1972), London.

BARBIERI F. 1982 Pittori di Vicenza 1480-1520, Vicenza.

BARTNICKA K. 1971 Polskie szkolnictwo artystyczne na przełomie XVIII i XIX w. 1764-1831, Wrocław.

BAZYLOW L. 1984 Polacy w Petersburgu, Wrocław.

BELLENGER S. 1999 Le girodisme d'Ingres, in: Center 19. Record of Activities and Research Reports. June 1998-May 1999 (National Gallery of Art., Center for Advanced Study in the Visual Arts), Washington, p. 45-51.

BERENSON B. 1931 Missing Pictures of 15th century Siena - part II, International Studio, March, p. 37-41.

BERENSON B. 1969 Italian Pictures of the Renaissance. A List of the Principal Artists and their Works with an Index of Places. Vol. I: Central Italian and North Italian Schools, London, p. 256-257.

BIAŁYNICKA-BIRULA J. 1998 Oleszkiewicz Józef, in: Słownik artystów polskich i obcych w Polsce działających, vol. 6, Warszawa, p. 259-263.

BIELIŃSKI J. 1998 Królewski Uniwersytet Warszawski (1816-1831), vol. III, Warszawa 1912.

CACIORGNA M. 1995 Da Eunosto di Tanagra a Giuseppe Ebreo. Un dipinto del ciclo "Piccolomini" a Washington, La Diana, [N. S.]

CAMESASCA E. 1968 L'opera compléta di Ingres, Milano.

CHARAZIŃSKA E., MICKE-BRONIAREK E., BOBROW R. 1999 W kręgu wileńskiego klasycyzmu, Warszawa.

COCHE DE LA FERTÉ E., GUEY J. 1952 Analyse archéologique et psychologique d'un tableau de David, RA 40, p. 129-161.

DEL BRAVO C. 1967 Qualche opinione sul 'Maestro di Stratonice", Paragone 207, p. 67-69.

DOBROWOLSKI T. 1957 Nowoczesne malarstwo polskie, vol. 1, Wrocław-Kraków.

DREMAV. 1973 Pranciskus Smuglevicius, Vilnius.

FAHY E. 1966 Some Notes on the Stratonice Master, Paragone 197, p. 17-28.

FRANCESCO DI GIORGIO MARTINI E IL RINASCIMENTO A SIENA 1993 Francesco di Giorgio Martini e il Rinascimento a Siena 1450-1500, a cura di L. Bellosi (Catalogo della Mostra), Milano.

FREDERICKSEN B. B. 1966 The Earliest Painting by 'Stratonice Master', Paragone 197, p. 53-55.

R. GUERRINI 1990 Antioco malato, in: Antioco malato. Forbiden loves from Antiquity to Rossi, Annali della Facolta di Lettere e Filosofia 11, (Siena) 1990, p. 335-340.

HAVELOCK CH. M. 1972 Hellenistic Art. The Art of the Classical World from the Death of Alexander the Great to the Battle ofActium, Greenwich, New York 1972.

HONOUR H. 1972 Neoklasycyzm, trad. W. Juszczak, Warszawa.

JACQUES-LOUIS DAVID 1989 Jacques-Luis David 1748-1825 (Musée du Louvre, 26 octobre 1989-12 févier 1990), Paris.

KACZMARZYK D. 1973 Jakub Tatarkiewicz profesorem Akademii Sztuk Pięknych Uniwersytetu Jagiellońskiego w Krakowie, Biuletyn

KORESPONDENCJ Historii Sztuk A i 35, p. 276-290. ADAMA NARUSZEWICZA 1959 Korespondencja Adama Naruszewicza 1762-1796, ed. J. Platt, Wrocław.

KOZAKIEWICZ S. 1952 Warszawskie wystawy sztuk pięknych w latach 1819-1845, Warszawa.

KOZAKIEWICZ S. 1962 Malarstwo warszawskie w latach 1815-1830. Podłoże rozwoju, RMNW 6, p. 189-371.

KOZAKIEWICZ S. 1976 Malarstwo polskie. Oświecenie, klasycyzm, romantyzm, Warszawa.

W KRĘGU WILEŃSKIEGO KLASYCYZMU 2000 W kręgo wileńskiego klasycyzmu, Katalog wystawy w Muzeum Narodowym w Warszawie, grudzień 1999- styczeń 2000, przygotowant pod kierunkiem E. Charazińskiej i R Bobrowa, Warszawa.

KSZTAŁCENIE ARTYSTYCZNE W WILNIE I JEGO TRADYCJE 1996 Kształcenie artystyczne w Wilnie i jego tradycje. Katalog wystawy: Toruń 15 marca - 5 maja 1996, J. Malinowski, M. Woźniak, R. Janoniene eds., Toruń.

LIETUVOS DAILE XVI-XIX A. TAPYBA, SKULPTURA. KATALOGAS 1969 Lietuvos Daile XVI-XIX a. Tapyba, Skulptura. Katalogas, Vilnius.

VAN MARLE R. 1937 The Development of the Italian Schools of Painting, vol. 16, The Hague. MALARSTWO HOLENDERSKIE XVII-XVIII W.

VAN MARLE R. 1958 Malarstwo holenderskie XVII-XVIII w. (Muzeum Narodowe w Poznaniu), Poznań.

MATHER F. J. JR. 1913 Three cassonepanels by Matteo di Siena, Art in America 1, fasc. 1, p. 24-30.

MCGRATH E. 1997 Rubens Subjects from History, vol. 2 [Corpus Rubenianum], London.

MIKOCKI T. 1991 Bibliografia tematu: Miłośnictu/o sztuki antycznej w Polsce w okresie stanisławowskim iprzedpowstaniowym, in : Z dziejów miłośnictwa antyku w Polsce, Praca zbiorowa. A. Sadurska ed., Warszawa, p. 191-213.

MISCIATELLI P. 1927 La donna senese del Rinascimento, La Diana 2, p. 225-259.

MISCIATELLI P. 1929 Cassoni senesi, La Diana 4, p. 117-126.

MIZIOŁEK J. 1996 Soggetti classici sui cassoni fiorentini alla vigilia del Rinascimento, Warszawa.

MIZIOŁEK J. 1997/98 Toskańskie malarstwo cassonowe z kolekcji Karola Lanckorońskiego w zbiorach Zamku Królewskiego na Wawelu. Studium wstępne, Studia Waweliana 6-7, p. 89-155.

MIZIOŁEK J. 2000 Artistic Geography of Italian Renaissance Domestic Painting, in: Borders in Art. Revisiting Kunstgeographie, K. Murawska-Muthesius ed., Warsaw, p. 107-116.

ODYNIEC A. E. 1961 Listy z podróży, vol. 1, Warszawa.

PIGLERA. 1974 Barocktheme. Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts, vol. 2, Budapest.

PRZECŁAWSKI J. 1914 Józef Oleszkiewicz, A. Drogoszewski ed., Prace Komisji do Badań nad Historią Literatury i Oświaty, vol. 1, p. 65-92.

PRZYBYLSKI R. 1983 Klasycyzm alboprawdzi^wy koniec Królestwa Polskiego, Warszawa 1983.

RASTAWIECKI E. 1851 Słownik malarzów polskich tudzież obcych w Polsce osiadłych lub czasowo w niej przebywających, vol. 2, Warszawa.

RAWITA-GAWROŃSKI F. 1903 Józef Oleszkiewicz. Malarz i mistyk, in: Idem, Studya i szkice historyczne, Serya I, Lwów, p 273-286.

ROSENBLUM R. 1967 Transformations in Late Eighteenth Century Art, Princeton.

ROSENBLUM R. 1968 Jean-Auguste-Dominique Ingres, Paris.

ROTTERMUND A. 1994 Nowy Rzym. O roli Rzymu w formowaniu zbiorów rzeźby Stanisława Augusta, in: Thorvaldsen w Polsce (Katalog wystawy, Zamek Królewski w Warszawie), Warszawa, p. 9-23.

RYSZKIEWICZ A. 1967 Recepcja Davida w sztuce polskiej, in: Idem, Francusko-polskie związki artystyczne. W kręgu J. L. Davida, Warszawa, p. 148-169.

RYSZKIEWICZ A. 1977 Alegorie i satyry na kilka momentów z historii Polski przełomu XVIII i XIX w., in: Ikonografia romantyczna, M. Poprzęcka ed., Warszawa, p. 227-249.

RYSZKIEWICZ A. 1981 Galeria Obrazów Aleksandra Chodkiewicza, in: Idem Kolekcjonerzy i milośnicy, Warszawa, p. 35-53.

SCHLENOFF N. 1956 Ingres, ses sources littéraires, Paris.

SCHNAPPER A. 1980 David témoin de son temps, Fribourg.

SCHUBRING P. 1915 Cassoni. Truhen und Truhenbilder der italienischen Frührenaissance. Ein Beitrag zur Profanmalerei im Quattrocento, Leipzig (2-gie wyd. 1923), p. 136, 332, pl. 112.

SCHULZ F. 1956 Podróże Inflantczyka z Rygi do Warszawy i po Polsce w latach 1791-1793, trad. J. I. Kraszewski, Warszawa.

SROCZYŃSKA K. 1985 Antoni Brodowski 1784-1832, życie i dzieb, Warszawa.

STECHOW W. 1945 "The Love ofAntiochus with Faire Stratonica", in: The Art Bulletin 27, p. 221-237 .

STECHOW W. 1964 Addenda to "The Love of Antiochus with Faire Staratonica", Bulletin du Musée National de Varsovie 5, p. 1-11.

ŚWIDEREK A. (ŚWIDERKÓWNAA.) 1969 Hellada Królów, Warszawa.

TATARKIEWICZ W. 1919 Rządy artystyczne Stanisława Augusta, Warszawa.

TATARKIEWICZ W.1966 Rzeźbiarz polskiego klasycyzmu, in: Idem, O sztuce polskiej XVII i XVIII wieku. Architektura, rzeźba, Warszawa, p. 477-498.

THORVALDSEN W POLSCE 1994 Katalog wystawy - Zamek Królewski, Warszawa, 17 października 1994 - 22 stycznia 1995, Warszawa.

TZARTES M. 1985 Anagrafe lucchese II. Michele Ciampanti: il Maestro di Stratonice, Ricerche di Storia dell'Arte 26, p. 18-27.

TZARTES M. 1987 Nouvelles perspectives sur la peinture lacquoise du Quattrocento, Revue de l'Art 75, p. 29-36.

VERTOVA L. 1972 La visita del medico. Osservazioni su alcuni dipinti di Bonifazio de'Pitati, Mitteilungen des Kunsthistorischen Institutes in Florenz 16, p. 175-184.

WATERHOUSE E. 1947 Two panels from a Cassone by Montagna at the Ashmolean Museum, Burlington Magazine 89, p. 46-47.