Słowa kluczowe

królowa |Anna Austriaczka |korespondencja królewska

Streszczenie

W epoce nowożytnej symbolika lustra była bardzo bogata. Najpopularniejsze wydawały się dwa ukryte znaczenia zwierciadła. Pierwsze to: próżność, bezmyślność, zalotność i nadmierne zainteresowanie własną cielesnością. W tym aspekcie lustro nie może stanowić atrybutu Anny Habsburżanki zwanej Austriaczką (il. 1), pierwszej żony Zygmunta III Wazy. Królowa obrała bowiem życie pełne pokory, świadomie zrezygnowała z doczesnych uciech, według Piotra Skargi od innych kobiet odróżniała się skromnością...

ENGLISH TITLE

Anna of Austria, Queen of Poland (1592–1598), in the Mirror of Her Letters. Some Remarks on the Importance of her Correspondence with Her Mother, Archduchess Maria Anna of Bavaria

Keywords

queen |Anna of Austria |Queen of Poland |Maria Anna of Bavaria |letter-writing |royal correspondence

Abstract

The article is an invitation to a discussion about the image of Anna of Austria, Queen of Poland, the first wife of King Sigismund III Vasa, created in the early seventeenth century by the Queen’s confessor Fabian Quadrantinus, and reinforced by the Austrian historian Walter Leitsch, the author of a four-volume work on the life at the court of the first Vasa. In the author’s opinion, the image is over-idealised – Quadrantinus created a picture of an almost holy woman, while Leitsch promoted a view of her as the most influential adviser to King Sigismund III. An in-depth analysis of the correspondence makes it possible to verify both of these perceptions. Besides, the authoress postulates a change in the approach to the Queen’s preserved letters to her mother, Archduchess Maria Anna of Bavaria – not to regard them solely as a repository of insight into the life of the royal family, but to see them as an egodocument – as a record of practices and experiences, a testimony to a “conversation by letters” lasting nearly six years. This text only indicates new research perspectives, encouraging us to look unconventionally at the relationship between mother and daughter, and prompting us to reflect on the role Anna of Austria and her Polish-Lithuanian courtiers played within the archduchess’s system of information gathering and network of correspondents.

Słowa kluczowe

Zygmunt III Waza |Jeremi Mohyła |Jan Zamoyski

Streszczenie

Celem niniejszego artykułu jest prześledzenie osobistych relacji pomiędzy bojarem Jeremim Mohyłą, późniejszym hospodarem Mołdawii, a królem Zygmuntem III Wazą. Dotychczasowa literatura poświęcona stosunkom polsko-mołdawskim kładła nacisk na więzi utrzymywane przez Mohyłę z Janem Zamoyskim, kanclerzem i hetmanem wielkim koronnym. Jedynym wyjątkiem od tego nurtu historiograficznego jest artykuł Ilony Czamańskiej, która stwierdziła, że król i kanclerz uważali hospodara za „swojego człowieka” i poczuwali się do obowiązku jego obrony...

ENGLISH TITLE

Jeremiah Movila: Between King Sigismund III and the Crown Chancellor and Hetman Jan Zamoyski (1591–1603). Introductory Remarks

Keywords

Sigismund III Vasa |Jeremiah Movila |Jan Zamoyski

Abstract

The article sheds light on the personal relations between Moldavian Prince Jeremiah Movila and King Sigismund III Vasa. In the beginning, the Moldavian boyar was a secondary figure among the Moldavians associated with the politics and politicians of the Polish-Lithuanian Commonwealth. After seizing the Moldavians throne, he made steps towards the Polish-Lithuanian monarch. Sources suggest that for the Hospodar, the relationship with the king was meant to counterbalance the Crown Chancellor and Hetman Jan Zamoyski’s plans for Moldavia and to strengthen Movila’s rule which was faced with external threats. Nevertheless, Jeremiah Movila maintained his relations with Chancellor Zamoyski, although they were necessarily weakened.

Słowa kluczowe

Władysław IV Waza |Kunstkamera |Preziosenwand |dramma per musica |Frans Francken młodszy

Streszczenie

Obraz Gabinet sztuki królewicza Władysława Zygmunta Wazy (il. 1) jest jedynym znanym przedstawieniem kunstkamery namalowanym w Warszawie. Jego powstanie wiąże się z grand tour królewskiego syna, przyszłego polskiego króla Władysława IV. Na obrazie widać mnogość obiektów powszechnie uznanych za zebrane bądź zamówione do kolekcji podczas królewiczowskiej wyprawy po Europie...

ENGLISH TITLE

The Kunstkammer Prince Ladislaus Sigismund Vasa’s Art Cabinet and Its Antwerp Connotations

Keywords

Kunstkammer |Ladislaus IV Vasa |Preziosenwand |history of collecting |dramma per musica |Chinese export porcelain |Frans Francken II (the Younger)

Abstract

The painting Prince Ladislaus Sigismund Vasa’s Art Cabinet, created in 1626 in Warsaw, belongs to a small group of paintings depicting idealised or real art collections called Kunstkammern. The author of the article determines the specific features of the composition scheme of the title painting and juxtaposes this type of still life with similar paintings made in the first half of the seventeen century. It turns out that the closest analogies should be sought in the paintings by Frans Francken the Younger, active in Antwerp. The author argues that it is right to use methods drawn from the theory of literature (the theory of intertextuality) and logical semiotics in the studyof the painting. These methods enable us to assume that all presented objects (also Chinese porcelain plates, flowers, skulls, and ships – shown in other ‘pictures in the picture’ – i.e. quotes in the quote) could be included in the same set of the (virtual) collection of the Polish prince.

Next, the author juxtaposes various hypotheses regarding the image of the architectural element en grisaille, visible in the upper right part of the painting. If it is not, as previously suggested by scholars, a fragment of the scenery for a dramma per musica, then perhaps it is the design of the theatre building itself, created in the spirit of the Palladian reception of Vitruvius, or a reminiscence from the era of one of the graphics illustrating architectural treatises or reconstructions of Roman buildings. This element resembles very much the frons scenae of the Teatro Olimpico in Vicenza. Thus, it is also related to the academic theatre, often presented in opposition – due to the philology of architecture – to the court theatre of that time.

The comparison of various Kunstkammern of the period in the Preziosenwand (Wall-of-Treasure) type helps to understand the message of the Warsaw painting, which still leaves much room for research, but is undoubtedly a kind of psychological portrait of the future ruler and the illustration his cultural and political ambitions.

Słowa kluczowe

Aleksander Sobieski |Archiwum Oławskie Sobieskich |XVIII wiek |Stanisław Leszczyński |III wojna północna

Streszczenie

W Archiwum Oławskim Sobieskich z Narodowego Historycznego Archiwum Białorusi (Nacyânal ́ny gistaryčny arhìŭ Belarusì) w Mińsku, w zbiorze o sygnaturze 281 z korespondencją z lat 1699–1707, adresowaną przeważnie do królewicza Jakuba Ludwika Sobieskiego, znajduje się list Jana Antoniego Lamprechta do drugiego królewicza Aleksandra Benedykta, nadany w Warszawie 1 sierpnia 1704 r. Przedstawia on podjęcie przez neoelekta Stanisława Leszczyńskiego w Zamku warszawskim we wtorek 29 lipca 1704 r. posłów szwedzkich, a także zawiera wiele informacji na temat planów i działań stron walczących na terenach Rzeczypospolitej w III wojnie północnej...

ENGLISH TITLE

Letter from the Sobieskis’ Oława Archive of 1704. On the Audience at the Warsaw Castle and the Early Rule of King Stanisław Leszczyński

Keywords

Aleksander Sobieski |Third Northern War |Saxon period |18th century

Abstract

The article is made of two parts: the presentation of Jan Antoni Lamprecht’s letter to Prince Aleksander Sobieski, sent from Warsaw on 1 August 1704; and a critical edition of it. The letter, which has been found in the Sobieskis’ Oława Archive preserved in the National Historical Archive of Belarus in Minsk, describes the reception of Swedish deputies by King Stanisław Leszczyński at the Warsaw Castle on Tuesday, 29 July 1704, the events of the war conducted on the territory of the Polish-Lithuanian Commonwealth, and the property matters of Prince Aleksander Sobieski and his relatives.

Słowa kluczowe

portret |John Greenhill |Peter Lely

Streszczenie

W kolekcji Zamku Królewskiego w Warszawie znajduje się obraz, który w zamkowym katalogu zbiorów malarstwa figuruje pod nazwą Portret młodzieńca z globusem (nr inw. ZKW/1835). To wysokiej klasy dzieło już wcześniej zwróciło uwagę badaczy, jednak dopiero w ciągu ostatnich lat, po przeprowadzeniu badań, udało się ustalić jego autora oraz tożsamość portretowanego. Niniejszy artykuł jest pierwszą publikacją na ten temat...

ENGLISH TITLE

Unknown Painting by John Greenhill in the Collection of the Royal Castle in Warsaw

Keywords

England |globe |John Greenhill |Peter Lely |portrait

Abstract

The Royal Castle in Warsaw – Museum houses a fine portrait known as A Young Man with a Globe. Until recently, its authorship and personality of the portrayed man were unknown. Thanks to the extensive research carried out by the curators of the Royal Castle in Warsaw, the author and the sitter were finally identified. Tomasz Jakubowski has found a graphic portrait of a young man in the collection of the National Portrait Gallery in London, which closely resembles the painting. The etching was made in 1667 by John Greenhill (1642–1676), an English painter and draftsman, a most gifted pupil of Peter Lely. The painter portrayed his younger brother – Henry Greenhill (1646–1708), a merchant and sailor awarded by the Admiralty (1680), one of the principal commissioners of the Navy (1691), who supervised the completion of the Plymouth Docks. The painting from the Royal Castle in Warsaw bears the stylistic resemblance to other portraits by John Greenhill; nevertheless, it demonstrates also an individual approach of the painter. Since there are no more than thirty paintings by John Greenhill preserved till today, the new attribution of the portrait proves to be important not only for the Polish art historians but also for their British colleagues. Nevertheless, to confirm the authorship of the painting definitively, further research in British collections would be suggested and thorough examination by conservators. This would demand international cooperation, which, if successful, may result in a publication on John Greenhill’s output or even an exhibition.

Słowa kluczowe

orientalizm |August II Mocny |malarstwo XVIII w. |Johann Samuel Mock |turquerie

Streszczenie

Jacek Staszewski, odnosząc się do rządów króla polskiego Augusta II Mocnego panującego w Saksonii jako Fryderyk August I, wspominał o jego próbie „stworzenia dworu »polsko-saskiego«, dworu jakby objazdowego, przebywającego raz w Polsce, raz w Saksonii, w zamyśle najwspanialszego dworu Europy, dworu pierwszego elektora Rzeszy i króla potężnej Rzeczypospolitej”. Przeprowadzki dworu sprzyjały również podróżom zatrudnionych na nim artystów oraz ich międzynarodowej działalności, co w konsekwencji prowadziło do rozprzestrzeniania się idei artystycznych oraz nurtów stylistycznych...

ENGLISH TITLE

Turqueries and Life at the Saxon Court. Around Johann Samuel Mock and His Four Warsaw Genre Scenes

Keywords

18th-century painting |Johann Samuel Mock |Augustus II Wettin |turquerie |Orientalism

Abstract

A German artist Johann Samuel Mock (1687–1737) active at the court of the Saxon electors moved to Warsaw around 1723. He mainly documented court festivities, but he also painted portraits, townscapes or vedutas, genre scenes and theatrical decorations. One of the most compelling works in his legacy is a set of four genre paintings executed to decorate the Saxon Palace in Warsaw, i.e. Game of Mangala, Harem Scene with Drinking Coffee, and two depicting The Courtship of a Black Man and The Courtship of Black Woman (in the collection of the National Museum in Warsaw, deposited at the Royal Castle in Warsaw). The article analyses Mock’s four paintings and the circumstances of their execution, showing them as an example of eighteenth-century artistic ideas, particularly the Turquerie trend and Oriental motifs, as well as a documentation of the customs at the Saxon court.

Słowa kluczowe

moda |portret |kronika |Marcello Bacciarelli |stroje |magnaci

Streszczenie

W dniach od 8 czerwca do 9 września 2018 r. Zamek Królewski w Warszawie – Muzeum prezentował wyjątkową wystawę zatytułowaną Marcello Bacciarelli. Najpiękniejsze portrety, która została zorganizowana z okazji 200. rocznicy śmierci artysty i obejmowała malowidła mistrza powstałe w ciągu ponad 50 lat, do początków XIX w. Dzięki temu, że Bacciarelli bardzo subtelnie i starannie oddawał na płótnie stroje modeli, wspomniane konterfekty mogą być cenną jako źródło kroniką ubiorów modnych Polaków, którzy byli zapatrzeni zarówno na francuskie, jak i na angielskie wzorce kulturowe...

ENGLISH TITLE

Portraits by Marcello Bacciarelli as a Chronicle of Fashionable Costumes of Poles in the Second Half of the Eighteenth Century

Keywords

fashion |chronicle |portrait |Marcello Bacciarelli |Anglomania |magnates |costumes

Abstract

Marcello Bacciarelli, one of the most important court painters of the last Polish King Stanislaus Augustus Poniatowski, was the author not only of historical paintings and images of Polish monarchs, so important to Polish culture, but also of many portraits depicting representatives of various social strata of the Polish-Lithuanian Commonwealth of that time. When painting these counterfeits, the artist sought not only to faithfully represent the appearance of his models but also to capture their costumes. For this reason, Bacciarelli’s portraits can be regarded as a kind of ‘painted’ chronicle of trendy Poles and be an important supplement to the literary descriptions of contemporary fashion which are to be found in the works by Jędrzej Kitowicz, Antoni Magier or Jan Duklan Ochocki. In the portraits we will find fashionable clothes of women, men, and children in the French and English variety, as well as examples of Polish national costume. The present analysis of the works by the Italian master allows us to show studies of costumes and fashion as an important auxiliary science of history and makes a valuable auxiliary material not only for historians, but also for historical re-enactments. Until now, portraits by Bacciarelli, contrary to these by his fellow countryman Canaletto, have not been thoroughly analysed in this respect. The present article attempts to fill this gap.

Słowa kluczowe

insurekcja kościuszkowska |Tadeusz Kościuszko |Stanisław August |Łazienki Królewskie w Warszawie |Konstytucja 3 maja |konfederacja targowicka |rozbiór Polski

Streszczenie

Dzieje Łazienek Królewskich (il. 1) postrzegane są przez historyków sztuki przede wszystkim jako historia przebudowy monarszej rezydencji, jej wpływu na rozwój architektury Rzeczypospolitej, a także jako obiekt badań nad kolekcjonerstwem Stanisława Augusta. W ślad za nimi poszli naukowcy zajmujący się zagadnieniami politycznymi, którzy opisując życie ostatniego polskiego króla, poświęcają Łazienkom jedynie nieco uwagi w marginesowych ustępach jego biografii dotyczących mecenatu artystycznego...

ENGLISH TITLE

The Royal Łazienki 1791–1795. Chronicle of Political and Court Events

Keywords

Stanislaus Augustus |The Royal Łazienki |3 May Constitution |Temple of Divine Providence |Grodno Sejm of 1793 |Kościuszko Insurrection |partitions of Poland

Abstract

The author, following the history of the Royal Łazienki from the adoption of the Constitution of 3 May 1791 to the king’s departure from Warsaw in 1795, indicates the possibility of using a new type of sources in research into the history of this royal residence – political and diplomatic correspondence, among other things. The information contained in letters by Polish politicians and dispatches by foreign diplomats makes it possible to show Łazienki as a centre important for the court activities and space where political events took place.

The year of functioning of the constitutional monarchy (under the Government Act of 1791) was a period of holding conferences at Łazienki and consolidation of political forces before the reopening of the Great Sejm session in autumn, and preparations for the sumptuously celebrated first anniversary of the constitution, which had its culmination in the laying of the cornerstone for the Temple of Divine Providence. After the Polish-Russian War of 1792, there is a noticeable absence in Łazienki of the monarch, who was forced to attend the 1793 Grodno Sejm. Despite (or perhaps thanks to) the absence of the patron and the court, the intensity of construction works carried out here is evident. In 1794, it was in Łazienki that the king, guarded by insurgents and deprived of any influence on political events, waited for meetings with the insurrection’s leader, Tadeusz Kościuszko, hoping that the Polish-Lithuanian Commonwealth would avoid tragic consequences of the uprising.

Słowa kluczowe

Zamek Królewski w Warszawie - odbudowa |praca społeczna

Streszczenie

Cytat pochodzący z pierwszego numeru „Biuletynu Zamek” wydanego 22 lutego 1971 r. w pełni oddaje atmosferę, która zapanowała w Polsce po ogłoszeniu decyzji o odbudowie Zamku Królewskiego. Zwieńczeniem wieloletnich starań o rekonstrukcję obiektu tak ważnego dla architektury miasta, ale przede wszystkim będącego symbolem państwowości było przekazanie tej informacji przez I sekretarza KC PZPR Edwarda Gierka na spotkaniu z „przedstawicielami środowisk twórczych” 20 stycznia 1971 r...

ENGLISH TITLE

Society for the Castle: An Overview Of Community Works Directly Undertaken During The Rebuilding Of The Royal Castle In Warsaw

Keywords

Rebuilding of the Royal Castle in Warsaw |Civil Committee for Rebuilding of the Royal Castle |community work |monument reconstruction after WWII

Abstract

From its very beginning, the rebuilding of the Royal Castle in Warsaw was to be financed by voluntary contributions and donations, and supported by the work of the whole society. The article attempts to present and systematise the statements of the contribution of work received by the Civil Committee for Rebuilding of the Royal Castle (OKOZK). Due to the issue comprehensiveness, the subject of this study has been narrowed down to community work subordinate to one of the OKOZK committees: the Commission for Social Actions. Individual examples serve to discuss the declarations concerning the preparation of documentation, contracting, services, supervision, and unskilled labour. The article deliberately omits other forms of community work to raise money for the reconstruction fund, such as artists’ donations of their fees, organising auctions, collecting raw materials, etc., focusing instead on the social work undertaken to improve the Commission’s activities or the functioning of the OKOZK Office. This article is part of the doctoral dissertation being prepared on the history and activities of the Civil Committee for Rebuilding of the Royal Castle in Warsaw.

Słowa kluczowe

portret |Marcello Bacciarelli |Stanisław August Poniatowski |Malarnia |Konstancja Poniatowska

Streszczenie

Marcello Bacciarelli, przybywszy w październiku 1766 r. do Warszawy, nad ofertę objęcia posady profesora malarstwa w Akademii Sztuk Pięknych w Dreźnie przedłożył propozycję zostania nadwornym malarzem w służbie rozpoczynającego panowanie króla Stanisława Augusta. Obok związanego z tym prestiżu i wyższego honorarium być może kusiła go perspektywa założenia tu akademii sztuk pięknych. Jak pisał do monarchy w swoim projekcie usprawnienia organizacji życia artystycznego na dworze, „aby w jakimś kraju mogły rozkwitać sztuki piękne, koniecznym jest nie tylko ściąganie artystów zagranicznych, ale także sprawienie, aby sztuki mogły być uprawiane przez jego mieszkańców”...

ENGLISH TITLE

Bacciarelli or Atelier? Study of the Technical Structure of the Portraits of King Stanislaus Augustus’s Parents from the Collections of the Royal Castle in Warsaw and the Łazienki Palace

Keywords

Marcello Bacciarelli |Malarnia |Portrait of Konstancja Poniatowska née Czartoryska |Portrait of Stanisław Poniatowski |replica painting |copy painting |technical structure of painting |physical and chemical examination methods of 18th-century paintings |starch in a paint layer

Abstract

Marcello Bacciarelli, soon after entering the service of King Stanislaus Augustus, became the head of an atelier, which was also a would-be academy of fine arts, known as Malarnia. Apart from educational functions, Malarnia was also obliged to execute the king’s orders, including painting and copying of portraits of the monarch and his family. In 1777, according to the written sources, Bacciarelli was to complete a large, posthumous pendant of the king’s parents, Konstancja née Czartoryska and Stanisław Poniatowski, for the Audience Chamber of the Royal Castle in Warsaw. The painter probably used unknown patterns, for example by Antoine Pesne. After the castle’s canvases a pair of reduced portraits was painted for the Łazienki Palace – a portrait of the mother, generally regarded as the work of the master with the participation of his pupils, and a portrait of the father, unanimously regarded as a copy. The two pairs were not intentionally painted together. The conservation of the four paintings and their examination by means of modern physical and chemical methods made it possible to recognise the technical structure of these canvases and revealed a number of significant, original repainting of the composition (the so-called pentimenti) in the castle pair and in the Łazienki version of the king’s mother. These alterations reveal the creative process behind the smaller image, and a comparison of the most significant details of the model’s face makes a further argument for the free, unquestionably Bacciarellian brushwork. The pentimenti of both portraits of Konstancja suggest that they could have been created at the same time. The two-stage painting process of the large pendant, revealed by the research, also allows us to assume that they might have been painted by Bacciarelli in his first Warsaw period, and later modified for the decoration of the Audience Chamber.

Słowa kluczowe

Warszawa |archeologia |fajka holenderska |fajka |fajka pruska |lulka |szisza |fajka wiedeńska |fajka porcelanowa |fajka z sepiolitu

Streszczenie

W ostatnim czasie rozwój i intensyfikacja badań archeologicznych prowadzonych w granicach miast przyczyniły się do zwiększenia zainteresowania archeologią okresu nowożytnego. Tym samym znacznie wzrosła liczba pozyskiwanych z tego czasu zabytków, które coraz częściej stają się tematem opracowań naukowych. Nierzadkim znaleziskiem podczas wykopalisk są fajki, wśród których znajdują się zarówno egzemplarze importowane, jak i te miejscowej produkcji. Z racji dużego zróżnicowania tych przedmiotów pod względem formy można śledzić ich zmiany stylistyczne na przestrzeni wieków i na tej podstawie tworzyć dość precyzyjny ciąg typologiczny...

ENGLISH TITLE

Selected Early Modern Pipes Recovered During the Archaeological Research at the Royal Castle in Warsaw

Keywords

Warsaw |homogenous pipe |composite pipe |Dutch pipe |Prussian pipe |lulka |bowl |STEM

Abstract

The article presents the most interesting pipes found during the archaeological research conducted at the Royal Castle in Warsaw. The artefacts are characterised according to their types and provenance. The collection includes pipes of Dutch, Prussian, Oriental, and local origin, made between the seventeenth and twentieth centuries. Their analysis made it possible to illustrate the variety of types of pipes used by the population of Warsaw and to answer the question of how their influx changed over time.