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1306:. Another source from 1791 indicates that the work was likely kept in the studio of the Polish painter Franciszek Smuglewicz (1745–1807) at the Royal Castle in Warsaw, where he would later produce his own copy of the composition. In a document dating back to 1798–1799 an "equestrian portrait" was listed as part of the art collection housed within the Potocki Palace, situated on
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the 1780s. He observes that "the Polish nobleman astride a perfectly poised, intensely muscled horse, head bent in submission beneath a dramatic mane" is depicted with great discipline. Moreover, the French art historian
Philippe Bordes positions the painting alongside David's other contemporary portraits of prominent social figures—including the
520:, which he received in 1781. These findings led researchers to conclude that the 1780 drawing was an original work by David, created in Naples. Additionally, the x-rays exposed red paint beneath the existing blue ribbon, further substantiating the notion that the painting's initial design was meant to showcase the Order of St. Stanislaus.
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has since been described as one of the paintings that "cemented David's success". David's debut at the 1781 Salon proved to be an important artistic milestone and helped to establish him as "the most promising painter of the rising generation". Following its display in Paris, the portrait was sent to
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were "superior merely by blood or also of mind". Analyzing
Eastern European representation in the late 18th-century Western art, historian Larry Wolff considers that the motif of horsemanship alluded to the "taming and harnessing" of Eastern Europe more broadly, in common with other works of art from
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style, then dominant in France, in favor of an approach characterized, in the judgement of the art historian
Kathryn Calley Galitz, by its precise contours, well-defined forms, and refined surfaces. David's style was also marked by a commitment to classical forms, echoing the visual language of Greek
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qualities of the composition, the French scholar of 18th-century art
Charlotte Guichard highlights the atypical placement of the artist's signature found on the dog's golden collar in the bottom left corner of the painting. She suggests that by "breaking dynamically into the space of representation,
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While
Potocki's travels to Italy between 1779 and 1780, as well as his subsequent encounter with David, have been well documented, the exact circumstances of the portrait's commission remain a subject of scholarly debate. Some art historians propose that Potocki directly requested that David paint
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By the middle of the eighteenth century, equestrian portraits had become scarce. No great picture of a horseman in the old tradition was painted, although some good specimens were rendered in sculpture. By the end of the century, the genre returned, marked by David's magnificent portrait of Count
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Regarding David's politics, Eitner wrote: "Though little is known of his opinions before 1789, there can be no doubt that he greeted the
Revolution with enthusiasm and constantly supported its most radical causes. His political activity was at first confined to the Academy, in which he became the
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collection might itself be David's copy of the original work. The ledger also makes no mention of the 1781 Paris Salon, where the original painting is believed to have been first exhibited. Existing records further point to versions of the work made by other artists, including a 1791 copy by the
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Warsaw, although the precise timeline of its movements remains uncertain. Existing records indicate that it was transferred to WilanĂłw Palace, a former royal residence near Warsaw owned by
Potocki, on December 5, 1801. The Baroque palace and its accompanying gardens, originally built for King
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setting, while the "stately architecture" in the background might hint at an imaginary or idealized backdrop. Potocki is depicted with no coat and only the blue sash of the Polish Order of the White Eagle, the country's highest civilian order, indicates his rank. He is attired in what Palmer
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Placed on public display at the palace until 1864, it was then moved to private quarters to become part of the
Potocki family portrait collection put together by August Potocki, Stanisław's grandson. In 1877, Aleksandra Potocka, August's widow, published an illustrated catalogue of the
1067:, which has since been lost, as well as one made in or around 1905 by the painter Wacław Pawliszak. Assertions about the existence of purported additional copies of the portrait have also emerged in the 21st century, though these claims have not yet been verified by researchers.
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of the painting are said to have been completed over time, including those painted by David himself. Some scholars proposed that the painting originally commissioned by
Ferdinand IV could be distinct from another work intended for Potocki, as suggested by the existence of a
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Equestrian portrait of Stanisław Kostka
Potocki, painted by David, one of the most beautiful works of world-renowned painting. Exhibited at the International Art Exhibition in Paris in 1937. It was stolen and taken by General Kinzel at the end of December 1944 to
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659:, on David's 1781 portrait, and argues that the painting "offers a premonition of the manner in which was later to treat modern, national subjects". According to Antoine Schnapper, the painting recalls van Dyck's 1634 equestrian portrait of
473:, leading Ferdinand to request an equestrian portrait from David. This led some scholars to believe that David had begun painting the work in Rome in 1780 before finishing it in Paris in 1781 and exhibiting it in the same year at the Paris
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displays the grand manner in everything he does. He has soul, his heads have expression without affectation, his attitudes are noble and natural, he draws, he knows how to arrange drapery and make handsome folds, his color is beautiful
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The ownership of WilanĂłw was transferred to Potocki in 1799, who would amass a significant collection of European and East Asian art. David's portrait of Potocki was placed on the eastern wall of the Great Hall (now known as the
1014:. In 2016, after undergoing extensive conservation, the painting was moved from the North Hall to the White Hall, its original location during the early 1800s where David's painting remains on view as of April 2023.
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1026:, most famously in the 1880 publication by Jacques-Louis-Jules David, which resulted in renewed interest in David's portrait of Potocki at the end of the 19th century. Moreover, several
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his portrait sometime in 1780. A collection catalogue published by the Potocki family in 1834 mentioned that "the portrait was completed in Paris after a sketch made from life in the
419:, into Polish. A comprehensive scholarly study of the history of Western ancient art, Winckelmann's book had a profound influence on the evolution of Neo-Classical art across Europe.
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As of 2019, three additional existing copies by unknown David followers, including one sold in 2015 at the auction house Drouot, Paris, have been traced by researchers.
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commissioned the painting in 1780 after Potocki had visited him in Naples. According to Jacques-Louis-Jules, Potocki impressed the king by taming a wild horse during a
660:
1010:, then part of the National Museum in Warsaw, and placed on public display. In 1995, the palace became an independent national museum and in 2013, it was renamed the
2937:
975:), that they had retrieved numerous works from the WilanĂłw collection as part of their wider post-war restitution campaign that spanned across Germany. According to
175:. As Potocki tips his hat in a welcoming gesture to the viewer, the horse bows, while a dog can be seen barking in the lower left-hand corner of the painting.
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in 1781. Both distinctions would later be reflected in David's depiction of Potocki. A strong advocate for public education, he served as co-founder of the
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Cataloges des Tableaux, Estampe Portraits Dessins Statues Bustes ect de la Galleries de Willanow ait l’anne 1725. Chambre qui precede la Gallerie
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has been described as one of David's masterpieces, marking the return of equestrian portraiture to European painting of the late 18th century.
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in a cordial greeting to the viewer, as the horse lowers its head. In the lower left-hand corner, a dog can be observed barking at the horse.
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of the composition—a preparatory study drawing initially believed to be a 19th-century sketch. The drawing portrays Potocki adorned with the
266:
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Schnapper, Antoine (1975). "Portrait of Count Stanislas Potocki". In Cummings, Frederick J.; Rosenberg, Pierre; Rosenblum, Robert (eds.).
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and Roman art, particularly following his visit to Naples in 1779. A prolific portraitist, David pursued commissions from an array of
2932:
2492:
1735:
Guile, Carolyn C. (December 2013). "Winckelmann in Poland: An Eighteenth-Century Response to the 'History of the Art of Antiquity'".
348:. He traveled extensively around Europe, visiting Italy, France, Switzerland and Germany between 1772 and 1775. In 1776, he married
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This version of events was later confirmed by David's grandson, Jacques-Louis-Jules David, who in 1880 published an album titled
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Scholars have also addressed the political resonance of the painting. According to Palmer, the portrait might symbolize the "
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The first record of the work matching the description of David's portrait of Potocki appears in a register dated 1783–1794 (
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While Ryszkiewicz's claim influenced art historical research into the origins of the work in the subsequent decades, a 2019
2754:
2314:
643:, and marking the return to prominence of equestrian portraiture in European late 18th-century painting. The art historian
1889:[Equestrian Portrait of Stanisław Kostka Potocki J.-L. David in Light of New Conservation and Archival Research].
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1510:. Vol. 1. Washington, D.C.: The Collections of the National Gallery of Art Systematic Catalogue. pp. 193–196.
1801:
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361:
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1115:, held in the National Museum in Warsaw, shows the wing of the palace in which David's painting was shown before 1834.
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In his 1930 biographical study of the artist, art historian Richard Cantinelli noted that David began working on the
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from 1862, among numerous other paintings and works on paper, were returned during an official ceremony held at the
2197:
Johns, Christopher M.S. (2006). "The Roman Experience of Jacques-Louis David, 1775-80". In Johnson, Dorothy (ed.).
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Guichard, Charlotte (April 2018). "Signatures, Authorship and Autographie in Eighteenth-Century French Painting".
290:, a 19th-century style in European academic art profoundly influenced by the aesthetic order and monumentality of
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in Rome and departed for Paris on July 17, 1780. In Paris, he finished the painting and displayed it at the 1781
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collection that had been restituted by the USSR in the war's aftermath. In 1956, David's painting was officially
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1887:"Portret konny Stanisława Kostki Potockiego J.-L. Davida w świetle nowych badań konserwatorskich i archiwalnych"
1796:(exh. cat.). New York and Detroit: The Metropolitan Museum of Art, Detroit Institute of Arts. pp. 363–364.
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for her daughter Aleksandra Potocka, prompting some researchers to speculate that the portrait currently in the
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873:) of the palace. in 1805, the collection was officially opened to the public, becoming one of the first public
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Marie-Anne Pierrette Paulze—created by an artist he asserts was "determined to engage his talent to climb the
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Subsequently, the portrait was placed in the collection of the National Museum in Warsaw. In 1990, after the
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214:, which had been owned by the Potocki family since 1799. In 1805, the palace became one of the first public
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and then to Germany. During Jacques-Louis David's bi-centenary exhibition in Paris in 1948, art historian
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2738:
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2594:
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2538:
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1001:
972:
770:
487:). In the 1960s, Polish art historian Andrzej Ryszkiewicz challenged this narrative, asserting a lack of
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to Poland in the same year. The remaining works, which included the portrait by David and Jan Matejko's
164:
91:
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2284:"Pamiętnik wystawy "Warszawa oskarża": 3 maja 1945 - 28 stycznia 1946 w Muzeum Narodowym w Warszawie"
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remain debated. Some historians believe Potocki directly requested it in 1780, while others suggest
2258:"Painting the National Portrait: Retrospective Exhibitions of French and Italian Art in the 1930's"
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described the portrait of Potocki as one of the "important works" missing from the show. In 1952,
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by the Nazi forces. According to surviving records, the painting was stolen by a group led by the
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Detail of the 1781 painting by David showing the artist's signature inscribed on the dog's collar
252:
2315:"WilanĂłw works of art in the German Catalogue Sichergestellte Kunstwerke im Generalgouvernement"
889:—the portrait of Potocki was relocated to Warsaw for safekeeping, where it remained until 1834.
568:
1912:
Sandström, Birgitta (1988). "An Equestrian Portrait of the Duc d'Orléans by Alexander Roslin".
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to confirm that the 1780 encounter between David and Potocki in Naples had ever transpired.
319:". While the artist's political alliances shifted over time—he actively participated in the
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1684:
1634:
Stanisław Kostka Potocki: studium magnackiej kariery w dobie upadku i "wskrzeszenia" Polski
1252:, he managed to dismantle the privileges of the academy one by one and, as a member of the
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in Paris. In 1932, the portrait, along with several other works by David, was shown at the
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294:. Between 1775 and 1780, David lived in Rome, where he was influenced by the paintings of
8:
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144:
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344:. Potocki was a Polish nobleman who would later become an influential politician in the
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in 1804—David remained committed to the tenets of Neo-Classicism throughout his career.
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1937:
1829:
906:
408:
2129:(English translation after Fried). Chicago: University of Chicago Press. p. 160.
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in Warsaw. See detailed discussion of the painting's provenance during that period in
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David's glittering name shines forth, catching the light and the viewer's attention".
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Schnapper also concludes that the "horse's forequarters" correspond to a 17th-century
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Potocki first encountered Jacques-Louis David in Italy during the artist's 1779–1780
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in 1793, obtained the decree that abolished it altogether. An admirer and friend of
768:. The exhibition was David's Salon debut and Potocki's portrait was shown alongside
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in 1618, had been copied by David sometime prior to 1780 and later exhibited at the
203:
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is described as "a study by David" made in 1781 which was bought later in Paris by
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994:
803:
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656:
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in 1793. His contributions to the country were recognized by two state awards: the
295:
183:
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Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment
927:, an extensive survey show of French art across seven centuries, organized at the
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956:
703:
572:
396:
372:
315:, but also what the art historian Allison Lee Palmer has called the "enlightened
124:
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1885:
Guzowska, Anna; Kwiatkowska, Anna; Walawender-Musz, Dominika (15 October 2019).
905:. The ownership of the palace and the collection was subsequently passed to the
1196:
886:
663:, a sketch of which David had completed prior to painting the Polish nobleman.
470:
81:
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Reproduction of a copy of David's portrait made by Pawliszak in or around 1905
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1933:
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leader of a dissident faction of junior members. By enlisting the aid of the
1084:
Receipt issued by David to Potocki for the sale of an artwork in Rome in 1780
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in Poland. In 1831, amid concerns of potential Russian pillaging due to the
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1788 depiction of the French chemist Antoine-Laurent Lavoisier and his wife
675:
316:
230:
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76:
69:
1595:
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Potocki reportedly first met David in Italy during the artist's 1779–1780
101:
304 cm Ă— 218 cm (120 in Ă— 86 in)
2153:
Gronkowski, Camille (1913). "'David et ses Eleves' at the Petit Palais".
2127:
Absorption and Theatricality: Painting and Beholder in the Age of Diderot
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lent credibility to the account of David's grandson. The report analyzed
191:
2230:] (in Polish). Warsaw: Krajowa Agencja Wydawnicza. pp. 115–119.
1925:
1504:
French Paintings of the Nineteenth Century, Part I: Before Impressionism
1408:[The portrait of Stanisław Kostka Potocki returned to Wilanów].
960:
798:. When discussing Potocki's portrait, Diderot singled out David's light
1961:
An Outline of 19th-Century European Painting from David through CĂ©zanne
874:
694:. The importance of Rubens is also noted by the American art historian
368:
353:
341:
308:
215:
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a wild horse. The portrait of Potocki was first exhibited at the Paris
179:
148:
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2373:(in Polish). Warsaw: Państwowy Instytut Wydawniczy. pp. 396–398.
237:
officials informed the Polish government (by then, the Soviet-aligned
1570:. Lanham, Maryland: Rowman & Littlefield Publishers. p. 90.
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authorities informed the Polish government (by then the USSR-aligned
952:
882:
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has received the highest amount of praise from contemporary critics,
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683:
679:
1597:
The Society Portrait: Painting, Prestige and the Pursuit of Elegance
933:
Exposition Internationale des Arts et Techniques dans la Vie Moderne
356:
family, and began his political activity in 1778 as a deputy to the
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715:
699:
686:. The tapestry, designed after a composition originally painted by
667:
620:
324:
152:
1884:
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forces in December 1944 and then transported to Germany. In 1952,
1636:(in Polish). Warszawa: Muzeum Pałacu Króla Jana III w Wilanowie.
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collection, which included a reproduction of David's portrait of
509:
299:
202:
sometime before 1801. That year, the work was transferred to the
2262:
Il Capitale Culturale. Studies on the Value of Cultural Heritage
2064:. Stanford, California: Stanford University Press. p. 103.
1822:
Le peintre Louis David 1748–1825. Souvenirs et documents inédits
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Cydzik, Jacek; Fijałkowski, Wojciech; Kupiecki, Edmund (1975).
691:
615:
599:
453:
303:
207:
199:
156:
2571:
Saint Roch Interceding with the Virgin for the Plague-Stricken
2201:. Newark, Delaware: University of Delaware Press. p. 67.
2089:. New Haven, Connecticut: Yale University Press. p. 127.
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the artist provided to Potocki on 30 June 1780, and follow-up
777:
Saint Roch Interceding with the Virgin for the Plague-Stricken
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who described the horse in Potocki's portrait as a "Rubensian
1849:
Ryszkiewicz, Andrzej (1964). "Jacques Louis David i Polacy".
624:
607:
560:
505:
477:, an official art exhibition organized by the members of the
411:
with a strong interest in classical antiquity. He translated
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Rosenblum, Robert (1973). "David's 'Funeral of Patroclus'".
241:) that the portrait was among numerous other works from the
885:
that had erupted on 29 November 1830 against the occupying
611:
222:
alongside the rest of the Potocki family's art collection.
1568:
Historical Dictionary of Neoclassical Art and Architecture
553:
Equestrian Portrait of Thomas Francis, Prince of Carignano
265:
and put on permanent display. Now part of the state-owned
2240:
1406:"Portret Stanisława Kostki Potockiego wrócił do Wilanowa"
1264:(January and October 1793) and briefly presided over the
628:
323:
before being appointed “First Painter to the Emperor” by
286:
Jacques-Louis David was a major French representative of
2547:
Erasistratus Discovering the Cause of Antiochus' Disease
1303:
Portrait d'un homme Ă cheval gr: nat: Peintres: de David
330:
2176:. New York: Alpine Fine Arts Collection. p. 54.
1714:. Chicago: University of Chicago Press. p. 148.
379:, a decisive military conflict that precipitated the
190:
commissioned the work after Potocki impressed him by
1752:
Painters and Public Life in Eighteenth-Century Paris
842:, the sister of Potocki's wife Aleksandra, in 1778.
2563:
Saint Jerome Hears the Trumpet of the Last Judgment
2001:"Rubens and an outstanding display of Roman virtue"
1988:. New York: Metropolitan Museum of Art. p. 93.
498:report from the Museum of King Jan III's Palace in
2659:The Lictors Bring to Brutus the Bodies of His Sons
2643:Portrait of Antoine-Laurent Lavoisier and his Wife
2395:
2290:(in Polish) (20). National Museum in Warsaw: 629.
639:The portrait has been described as one of David's
598:against a grey wall on top of which two classical
281:
182:, although the details surrounding the portrait's
1754:. New Haven: Yale University Press. p. 203.
1442:. New Haven: Yale University Press. p. 292.
1017:
938:
465:celebrating the artist's oeuvre. He claimed that
2938:Art and cultural repatriation after World War II
2924:
2397:"Jacques-Louis David: A Bi-Centenary Exhibition"
1793:French Painting 1774–1830: The Age of Revolution
1664:(in Polish). Warsaw: Polskie Wydawnictwo Naukowe
1338:Guzowska, Kwiatkowska & Walawender-Musz 2019
1325:Guzowska, Kwiatkowska & Walawender-Musz 2019
1312:Guzowska, Kwiatkowska & Walawender-Musz 2019
806:completed by the artist during the same period.
1785:
1783:
1781:
1779:
1777:
1775:
1773:
1771:
1712:The Villas of Pliny from Antiquity to Posterity
1536:"The Legacy of Jacques Louis David (1748–1825)"
619:characterized as the "finest" clothing: yellow
1501:Eitner, Lorenz (2000). "Jacques-Louis David".
1050:Equestrian Portrait of Count Stanislas Potocki
959:in December 1944, who first transported it to
945:Equestrian Portrait of Count Stanislas Potocki
827:Equestrian Portrait of Count Stanislas Potocki
762:Equestrian Portrait of Count Stanislas Potocki
754:Equestrian Portrait of Count Stanislas Potocki
415:, a 1764 treatise by the German art historian
271:Equestrian Portrait of Count Stanislas Potocki
251:to Poland and placed in the collection of the
220:Equestrian Portrait of Count Stanislas Potocki
120:Equestrian Portrait of Count Stanislas Potocki
26:Equestrian Portrait of Count Stanislas Potocki
2469:
2228:WilanĂłw. The residence of the Victorious King
997:in St. Petersburg (then Leningrad) in 1956.
909:in 1892. In 1913, it was featured in David's
634:
2827:Portrait of comte Antoine Français de Nantes
2114:(in French). Paris: G. van Oest. p. 13.
1857:. Warsaw: Polish Academy of Sciences: 89–90.
1768:
1301:
1295:
1226:is used when discussing the portrait, while
1155:
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900:
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859:
836:Marie Casimire Louise de La Grange d'Arquien
499:
482:
460:
437:
331:
260:
242:
2313:Kudelski, Jarosław Robert (7 August 2019).
2255:
2221:
1848:
1631:
1600:. London: Thames & Hudson. p. 40.
1439:Painting and Sculpture in France, 1700-1789
1012:Museum of King John III's Palace at WilanĂłw
484:Académie royale de peinture et de sculpture
2476:
2462:
2281:
2152:
2109:
1834:: CS1 maint: location missing publisher (
1593:
1542:. New York: The Metropolitan Museum of Art
1479:. New York: The Metropolitan Museum of Art
1022:The painting has been often reproduced in
983:at the time, the initial set of works was
856:Portrait of Count Stanislas Kostka Potocki
845:
790:, all of which were praised by the French
730:
358:Sejm of the Polish–Lithuanian Commonwealth
129:Portret konny Stanisława Kostki Potockiego
110:Museum of King Jan III's Palace at WilanĂłw
39:
33:Portret konny Stanisława Kostki Potockiego
2531:Diana and Apollo Killing Niobe's Children
2326:
2171:
1914:Bulletin of the Detroit Institute of Arts
1911:
1789:
1710:Du Prey, Pierre de la Ruffinière (1994).
1682:
1365:
1282:
516:ribbon, awarded in 1780, rather than the
2691:Portrait of Madame Marie-Louise Trudaine
2312:
2268:. Macerata: University of Macerata: 295.
2024:
1891:Muzeum Pałacu Króla Jana III w Wilanowie
1187:List of paintings by Jacques-Louis David
931:in London. In 1937, it was exhibited at
849:
739:
647:notes the influence of two 17th-century
585:
426:
2859:The Farewell of Telemachus and Eucharis
2819:The Distribution of the Eagle Standards
2683:Portrait of Philippe-Laurent de Joubert
2483:
2368:
1998:
1963:. New York: Routledge. pp. 15–31.
1709:
1534:Galitz, Kathryn Calley (October 2004).
479:Royal Academy of Painting and Sculpture
2925:
2393:
2364:
2362:
2360:
2277:
2275:
2256:Kangaslahti, Kate (12 December 2016).
2148:
2146:
2084:
1986:Jacques-Louis David: Radical Draftsman
1983:
1958:
1565:
1533:
1500:
1470:
1330:
1317:
1288:
1275:
1269:
508:of the original painting and an early
352:, a member of the aristocratic Polish
302:masters, prompting him to abandon the
2707:The Last Moments of Michel Lepeletier
2457:
2288:Rocznik Muzeum Narodowego w Warszawie
2199:Jacques-Louis David: New Perspectives
2196:
2124:
2059:
1880:
1878:
1876:
1874:
1872:
1870:
1868:
1866:
1864:
1819:
1815:
1813:
1734:
1627:
1625:
1589:
1587:
1435:
1431:
1429:
1427:
1233:
1216:
864:Palace in 2019 following conservation
735:
276:
2755:The Intervention of the Sabine Women
2445:Portret Stanisława Kostki Potockiego
2421:"Dzieła uratowane z wojennej pożogi"
2418:
2087:Jacques-Louis David: Empire to Exile
1749:
1739:(9). University of Birmingham: 1–24.
1561:
1559:
1557:
1529:
1527:
1496:
1494:
1399:
1397:
1395:
1393:
1391:
1389:
1361:
1359:
1357:
1039:between the two dated 10 July 1780.
393:Warsaw Society of Friends of Science
18:1781 painting by Jacques-Louis David
2579:Portrait of Count Stanislas Potocki
2357:
2272:
2224:Wilanów. Rezydencja Króla Zwycięzcy
2143:
2053:
1820:David, Jacques-Louis-Jules (1880).
1743:
1403:
1262:beheading of the king and the queen
1004:, the work was transferred back to
670:fragment illustrating the story of
661:Thomas Francis, Prince of Carignano
13:
2893:Marguerite Charlotte PĂ©coul (wife)
2779:Napoleon at the Saint-Bernard Pass
2078:
1999:Behrens, Edward (3 January 2023).
1861:
1810:
1687:[Extraordinary portrait].
1622:
1584:
1424:
925:Exhibition of French Art 1200–1900
407:in 1816. Potocki was also an avid
135:on canvas completed by the French
14:
2989:
2437:
2408:(547): 276–280 – via JSTOR.
1554:
1540:Heilbrunn Timeline of Art History
1524:
1491:
1477:Heilbrunn Timeline of Art History
1386:
1354:
1300:), under number 66 a work titled
2933:Portraits by Jacques-Louis David
2909:
2908:
2394:Cooper, Douglas (October 1948).
1281:The English translation follows
1140:
1131:, 1780, graphite laid on paper (
1120:
1113:View of the Palace from the Park
1101:
1089:
1077:
541:
532:
462:Le peintre Louis David 1748–1825
2412:
2387:
2306:
2249:
2234:
2215:
2190:
2165:
2118:
2110:Cantinelli, Richard R. (1930).
2103:
2018:
1992:
1977:
1952:
1905:
1842:
1824:(in French). Paris. p. 13.
1728:
1703:
1676:
1650:
1471:Gontar, Cybele (October 2003).
1323:This hypothesis is proposed by
1254:Committee of Public Instruction
1129:An Antique Sculpture of a Horse
838:in 1681–1696, was inherited by
627:. Potocki is seen removing his
518:Polish Order of the White Eagle
413:History of the Art of Antiquity
282:Jacques-Louis David (1748–1824)
267:Museum of King Jan III's Palace
257:end of communist rule in Poland
173:Polish Order of the White Eagle
2958:Polish–Lithuanian Commonwealth
2555:The Funeral Games of Patroclus
2245:. Warsaw: Arkady. p. 272.
2222:Fijałkowski, Wojciech (1983).
2112:Jacques-Louis David, 1748-1825
1464:
1222:In this article, the spelling
1018:Print reproductions and copies
979:, who was the director of the
943:In 1944, during World War II,
939:World War II and its aftermath
783:The Funeral Games of Patroclus
581:
346:Polish–Lithuanian Commonwealth
218:in Poland, displaying David's
167:. The artist shows Potocki on
1:
2419:Wita, Ignacy (10 July 1956).
2349:: CS1 maint: date and year (
1737:Journal of Art Historiography
1632:Getka-Kenig, Mikołaj (2021).
1404:Kuc, Monika (7 August 2016).
1347:
802:, which stood in contrast to
422:
259:, it was transferred back to
210:in the late 17th century for
2875:Mars Being Disarmed by Venus
2795:Napoleon in Imperial Costume
2651:The Loves of Paris and Helen
2282:Kaczmarzyk, Dariusz (1976).
1594:Badea-Päun, Gabriel (2007).
1566:Palmer, Allison Lee (2020).
750:Palais des Beaux-Arts, Lille
171:and wearing the sash of the
147:, the work depicts a Polish
7:
2763:Portrait of Madame RĂ©camier
2739:Portrait of Pierre Seriziat
2667:Portrait of Madame Pastoret
2587:Belisarius Begging for Alms
2172:Schnapper, Antoine (1982).
1165:
1054:ElĹĽbieta Izabela Lubomirska
1002:fall of communism in Poland
823:Belisarius Begging for Alms
786:, and a composition titled
771:Belisarius Begging for Alms
746:Belisarius Begging for Alms
606:notes that the presence of
523:
401:Towarzystwo Przyjaciół Nauk
10:
2994:
2803:The Coronation of Napoleon
2771:Portrait of Cooper Penrose
2611:Portrait of Alphonse Leroy
2603:Andromache Mourning Hector
2507:Portrait of François Buron
1658:"Potocki Stanisław Kostka"
1070:
788:A Woman Suckling Her Child
756:at the Paris Salon in 1781
752:) was exhibited alongside
635:Influences and scholarship
602:are placed. Art historian
565:Napoleon Crossing the Alps
445:National Library of Poland
417:Johann Joachim Winckelmann
381:Second Partition of Poland
377:Polish–Russian War of 1792
2906:
2885:
2787:Portrait of Pope Pius VII
2491:
2328:10.5604/01.3001.0013.3341
2085:Bordes, Philippe (2005).
1984:Bordes, Philippe (2022).
1683:Poprzęcka, Maria (2005).
1156:
1058:
1044:
1006:
981:National Museum in Warsaw
901:
895:
860:
792:Enlightenment philosopher
674:, a 4th-century BCE
594:David depicts Potocki on
500:
385:Order of Saint Stanislaus
332:
261:
255:. In 1990, following the
253:National Museum in Warsaw
243:
105:
97:
87:
75:
65:
57:
47:
38:
30:
25:
2963:Enlightenment philosophy
2369:Jarocki, Robert (1981).
2296:10.11588/diglit.19582.17
1750:Crow, Thomas E. (1985).
1230:is used for its subject.
1209:
1152:Stanisław Kostka Potocki
973:Polish People's Republic
902:Stanisław Kostka Potocki
551:Left: Anthony van Dyck,
439:Stanisław Kostka Potocki
389:Order of the White Eagle
333:Stanisław Kostka Potocki
296:Italian High Renaissance
239:Polish People's Republic
206:, built originally as a
165:Stanisław Kostka Potocki
92:Stanisław Kostka Potocki
2843:Leonidas at Thermopylae
2715:The Death of Young Bara
2402:The Burlington Magazine
2125:Fried, Michael (1988).
2039:10.1111/1467-8365.12328
1959:Eitner, Lorenz (2021).
1851:Rocznik Historii Sztuki
1436:Levey, Michael (1993).
1368:The Burlington Magazine
1308:Krakowskie Przedmieście
1133:National Gallery of Art
1042:In an 1877 ledger from
846:Later years (1781–1939)
731:Reception and ownership
714:debate" of whether the
514:Order of St. Stanislaus
436:Equestrian Portrait of
198:in 1781 and brought to
143:in 1781. A large-scale
2973:18th-century paintings
2943:18th-century portraits
1685:"Niezwyczajny portret"
1302:
1296:
915:
865:
819:
757:
591:
483:
467:Ferdinand IV of Naples
461:
448:
438:
400:
188:Ferdinand IV of Naples
128:
2867:The Anger of Achilles
2835:Napoleon in His Study
2723:The Tennis Court Oath
2635:The Death of Socrates
2523:Minerva Fighting Mars
2060:Wolff, Larry (1994).
1248:, and finally of the
1246:the National Assembly
1127:Jacques-Louis David,
1065:Franciszek Smuglewicz
929:Royal Academy of Arts
853:
808:
794:and prominent writer
743:
589:
430:
371:and would serve as a
350:Aleksandra Lubomirska
2948:Equestrian portraits
1192:Partitions of Poland
702:". In examining the
610:beneath the horse's
569:Château de Malmaison
405:University of Warsaw
161:Enlightenment Period
2619:Oath of the Horatii
2595:Christ on the Cross
2539:The Death of Seneca
2515:Jupiter and Antiope
2485:Jacques-Louis David
2371:Rozmowy z Lorentzem
2155:Burlington Magazine
1926:10.1086/DIA41504785
1260:, he voted for the
1109:Wincenty Kasprzycki
916:David et ses Eleves
816:Denis Diderot, 1781
682:himself during the
489:historical evidence
292:classical antiquity
145:equestrian portrait
141:Jacques-Louis David
52:Jacques-Louis David
2726:(1794, incomplete)
2718:(1794, incomplete)
2699:The Death of Marat
2694:(1792, unfinished)
2675:Lycurgus of Sparta
866:
840:Izabela Lubomirska
758:
736:Paris Salon (1781)
672:Publius Decius Mus
592:
449:
403:) in 1800 and the
362:Lublin Voivodeship
277:Historical context
2920:
2919:
2627:The Vestal Virgin
1970:978-0-429-70891-6
1691:(in Polish) (8).
1643:978-83-66104-75-4
1607:978-0-500-23842-4
1577:978-1-5381-3359-0
1182:History of Warsaw
1177:History of Poland
977:Stanisław Lorentz
879:November Uprising
832:John III Sobieski
804:history paintings
653:Peter Paul Rubens
604:Antoine Schnapper
563:). Right: David,
321:French Revolution
225:The painting was
212:John III Sobieski
116:
115:
2985:
2912:
2911:
2851:Cupid and Psyche
2811:Sappho and Phaon
2747:Psyche Abandoned
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1662:Encyklopedia PWN
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995:Hermitage Museum
918:
904:
903:
898:
897:
863:
862:
817:
712:prerevolutionary
696:Robert Rosenblum
684:Second Latin War
657:Anthony van Dyck
614:could suggest a
557:Galleria Sabauda
545:
536:
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502:
486:
464:
456:Riding School".
441:
387:in 1780 and the
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2005:Apollo Magazine
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1473:"Neoclassicism"
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957:Eberhard Kinzel
941:
907:Branicki family
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818:
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649:Flemish Baroque
637:
584:
579:
578:
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573:Rueil-Malmaison
548:
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338:
311:, not only the
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2968:1781 paintings
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2426:Życie Warszawy
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858:on display at
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204:WilanĂłw Palace
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2501:List of works
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800:color palette
797:
796:Denis Diderot
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2978:Portrait art
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2345:cite journal
2319:Muzealnictwo
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2008:. Retrieved
2004:
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1895:. Retrieved
1890:
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1666:. Retrieved
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1544:. Retrieved
1539:
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1481:. Retrieved
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1409:
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1319:
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1277:
1250:Jacobin Club
1235:
1227:
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1172:Academic art
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638:
623:and a white
593:
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496:conservation
493:
471:hunting trip
458:
450:
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317:middle class
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208:royal palace
177:
133:oil painting
119:
118:
117:
32:
20:
15:
2953:Dogs in art
2782:(1800–1805)
2449:(in Polish)
2027:Art History
1893:(in Polish)
1689:MĂłwiÄ… wieki
1412:(in Polish)
1270:Eitner 2000
1258:Robespierre
1148:Anton Graff
985:repatriated
875:art museums
680:sacrificing
582:Description
375:during the
336:(1755–1821)
313:aristocracy
231:Nazi German
216:art museums
2927:Categories
1416:25 January
1348:References
1266:Convention
1244:, then of
935:in Paris.
881:—an armed
871:White Hall
678:known for
651:painters,
423:Commission
354:Lubomirski
342:Grand Tour
298:and early
184:commission
180:Grand Tour
149:politician
98:Dimensions
2686:(c. 1792)
2630:(c. 1787)
2493:Paintings
2337:2391-4815
2047:0141-6790
1942:192745494
1934:0011-9636
1920:(1): 52.
1830:cite book
1697:1230-4018
1616:185155882
1380:0007-6287
1228:Stanisław
1224:Stanislas
953:Wehrmacht
821:Although
596:horseback
360:from the
227:plundered
169:horseback
2914:Category
2301:Germany.
2010:23 April
1947:Potocki.
1897:31 March
1668:23 April
1546:31 March
1483:23 April
1458:26586498
1203:Szlachta
1166:See also
1154:, 1785 (
1048:Palace,
990:Stańczyk
961:Ĺšwidnica
955:General
854:David's
814:—
748:, 1781 (
716:nobility
700:stallion
668:tapestry
621:trousers
567:, 1801 (
555:, 1634 (
524:Analysis
443:, 1780 (
433:ketch of
431:David, S
325:Napoleon
249:returned
153:nobleman
139:painter
131:) is an
112:, Warsaw
106:Location
77:Movement
31:Polish:
2886:Related
2243:WilanĂłw
1157:WilanĂłw
1071:Gallery
1059:WilanĂłw
1045:WilanĂłw
1033:receipt
1007:WilanĂłw
919:at the
913:titled
896:WilanĂłw
861:WilanĂłw
744:David,
600:columns
510:modello
501:WilanĂłw
373:general
369:patriot
309:patrons
300:Baroque
262:WilanĂłw
244:WilanĂłw
159:of the
88:Subject
2878:(1824)
2870:(1819)
2862:(1818)
2854:(1817)
2846:(1814)
2838:(1812)
2830:(1811)
2822:(1810)
2814:(1809)
2806:(1807)
2798:(1805)
2790:(1805)
2774:(1802)
2766:(1800)
2758:(1799)
2750:(1795)
2742:(1795)
2734:(1794)
2702:(1793)
2678:(1791)
2670:(1791)
2662:(1789)
2654:(1788)
2646:(1788)
2638:(1787)
2622:(1784)
2614:(1783)
2606:(1783)
2598:(1782)
2590:(1781)
2582:(1780)
2574:(1780)
2566:(1779)
2558:(1778)
2550:(1774)
2542:(1773)
2534:(1772)
2526:(1771)
2518:(1771)
2510:(1769)
2377:
2335:
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2180:
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1967:
1940:
1932:
1800:
1758:
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1640:
1614:
1604:
1574:
1514:
1456:
1446:
1378:
1028:copies
969:Soviet
949:looted
704:formal
692:Louvre
688:Rubens
616:stable
612:hooves
506:x-rays
454:Naples
397:Polish
304:Rococo
235:Soviet
200:Warsaw
192:taming
157:writer
155:, and
125:Polish
66:Medium
48:Artist
2226:[
2174:David
2161:: 87.
1938:S2CID
1508:(PDF)
1210:Notes
1024:print
811:(...)
766:Salon
625:shirt
608:straw
561:Turin
475:Salon
196:Salon
2375:ISBN
2351:link
2333:ISSN
2203:ISBN
2178:ISBN
2131:ISBN
2091:ISBN
2066:ISBN
2043:ISSN
2012:2023
1965:ISBN
1930:ISSN
1899:2023
1836:link
1798:ISBN
1756:ISBN
1716:ISBN
1693:ISSN
1670:2023
1638:ISBN
1612:OCLC
1602:ISBN
1572:ISBN
1548:2023
1512:ISBN
1485:2023
1454:OCLC
1444:ISBN
1418:2023
1376:ISSN
947:was
655:and
61:1781
58:Year
2323:doi
2292:doi
2035:doi
1922:doi
1372:115
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
