Before 1516 the confraternity of Saint Reinhold in Gdańsk commissioned a retable for the Saint Reinhold Chapel of the Saint Mary's Church in the city. The outer wings of the polyptych were painted in the workshop of Joos van Cleve, who depicted himself as Saint Reinhold.
The polyptych was shipped to Gdańsk in 1516 and today is on display in the Gallery of Medieval Art of the National Museum in Warsaw (oak, central panel 194 × 158 cm (76.4 × 62.2 in), each wing 194 × 75 cm (76.4 × 29.5 in)). It is the first confirmed work commissioned by patrons from territories of today's Poland. The second could be Triptych with the Adoration of the Magi with a monarch in a chain of the Order of the Golden Fleece in the Gemäldegalerie, Berlin (oak, central panel 72 × 52 cm (28.3 × 20.5 in), each wing 69 × 22 cm (27.2 × 8.7 in)). It was acquired from the Reimer Collection in Berlin in 1843. Possibly commissioned by Sigismund I of Poland. The outer parts of the wings were painted en grisaille with effigies of Saints Christopher and Sebastian, which may indicate the donor, his patron saints, however among recipients of the Order of the Golden Fleece between 1451 and 1531 there were no Sebastian and only one Christopher - Christopher, Margrave of Baden-Hachberg (1453-1527). Although the latter was portraited in the similar headdress (crinale), he was not a king to depict himself as one of the Magi, and his facial features are completely different. Also other garments are very close to those from the known effigies of the Polish monarch - eg. Communion of Sigismund I, a leaf from the Prayer Book of Sigismund I the Old by Stanisław Samostrzelnik from 1524 in the British Library. The king of Poland was awarded the Order of the Golden Fleece in 1519 at the age of 52. The sources on artistic contacts of the Polish court at that time with the Netherlands are very scarce. Among commissions confirmed in preserved inventories and accounts there are the following. In 1526 queen Bona Sforza commissioned in Antwerp through Seweryn Boner, 16 tapestries "de lana cum figuris et imaginibus" of 200 flemish square inches in its entity. They were transported to Kraków via Frankfurt upon Main, Nuremberg and Wrocław. In 1533 king Sigismund I commissioned through Boner and Mauritius Hernyck in Antwerp 60 tapestries with coat of arms of Poland, Lithuania and Duchy of Milan among which 20 bigger with green and blue background, 26 tapestries without coat of arms and 6 tapestries with figural scenes. The commission cost was 1170 florins and tapestries were transported to Kraków via Nuremberg, Leipzig and Wrocław. In 1536 the king acquired 7 paintings in Flanders to adorn the apartments of prince Sigismund Augustus at the Wawel castle for 35 florins ("pro septem imaginibus Flandrensibus pictis"). The subtle marble bust of Queen Barbara Zapolya from Olesko Castle in the style of Netherlandish renaissance was probably part of a larger commission made by Sigismund I around 1520. Madonna and Child in architectural setting
oil on panel, ca. 1535, 33.6 × 25.2 cm (13.2 × 9.9 in), inventory number Wil.1591, Museum of King John III's Palace at Wilanów
The painting represents one of several versions of ''Madonna of the Cherries'' created by Giovanni Pietro Rizzoli, called Giampietrino in about 1508-1510 when he was working alongside Leonardo da Vinci. The Giampietrino's painting is possibly a reproduction of a Madonna painted by Leonardo for Francis I of France. The latter work was probably a painting that influenced Joos van Cleve who was frequently employed by French court. The painting by Giampietrino from doctor Karl Lanz's collection is a direct link to the lost da Vinci's original. The composition enjoyed great success in the early decades of the 16th century and some twenty three versions attributed to Joos van Cleve's workshop have been identified.
Similar painting is in the Arnold and Seena Davis Collection. The work was acquired by Stanisław Kostka Potocki for his collection in the Wilanów Palace in Warsaw.
In 1622 Constance of Austria, Queen consort of Poland, sent a gift to sons of her younger sister Duchess of Tuscany. The sons of Maria Maddalena of Austria were presented with a set of colourful costumes - żupan dress, delia coat and other necessary utensils of a Polish noble, including pernach mace and zygmuntówka sabre, among others. Their new exotic attires were captured in a series of portraits by Justus Sustermans, at least one of which was sent to Warsaw in gratitude to Queen of Poland.
The portrait in the collection of Flint Institute of Arts (inventory no. 1965.15) depicting Maria Maddalena of Austria with her son Ferdinand in Polish costume is an exact copy of a painting preserved in the Uffizi in Florance (inventory no. 1890, 2246). It was by most accounts in the possession of the Polish Vasas and was transferred by John II Casimir Vasa to France after his abdication in 1668.
Portrait of Maria Maddalena of Austria, Duchess of Tuscany with her son Ferdinando in Polish costume by Justus Sustermans, 1622, Flint Institute of Arts.
Portrait of Leopoldo de' Medici in Polish costume with a pernach mace by Justus Sustermans, 1622, Uffizi Gallery.
Equestrian portrait of Ferdinando de' Medici in Polish costume with a sabre by Justus Sustermans, ca. 1622, Konopiště Castle.
Portrait of dwarf in Polish costume holding a pernach mace and a dog by Anonymous from Florence, 1620s, Uffizi Gallery. Its possible that the dwarf or his costume was a gift from Constance of Austria to her sister Duchess of Tuscany. Identification by Marcin Latka (Artinpl).
See more pictures of Polish noble costume on Pinterest - Artinpl and Artinplhub
On the occasion of 150th anniversary of Olga Boznańska's birth on 15 April 2015, the National Museum in Krakow and the National Museum in Warsaw organized and exhibition devoted to her work and life.
Olga Boznańska is considered as one of the most distinguished painters of the Young Poland movement, active in Munich and Paris. She was born in 1865 in Kraków and died in 1940 in Paris. Her artistic formation was influenced by sophisticated art of James McNeill Whistler, and artists placed on the border between realism and impressionism, Edouard Manet and Wilhelm Leibl. During the Munich period she created large, full-length portraits inspired by Velázquez. The subject-based arrangement of the exhibition include portraiture, images of children, motherhood, urban landscapes, atelier interiors and still-life. It was supplemented with works by artist who influenced and inspired her. |
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