1114:
1102:
52:
1133:
598:
439:
1090:
554:
862:
1153:
545:
2921:
752:
1317:. 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
1113:
730:
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
531:, 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.
840:
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
729:
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
317:
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
717:
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,
462:
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
1957:
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
1250:
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
1073:
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
841:
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
629:
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
903:
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
1078:, 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.
1041:
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
2311:
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
1101:
670:, 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
484:, 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
1132:
821:
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
879:
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
1025:. 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.
1897:
943:
1037:, 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
463:
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
430:, 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.
1089:
2581:
787:
2557:
1347:
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.
480:
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
671:
1021:, 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
2948:
986:), 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
186:. 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.
1152:
402:
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
2573:
17:
2845:
2669:
2653:
731:
506:
120:
51:
1308:
Cataloges des Tableaux, Estampe Portraits Dessins Statues Bustes ect de la Galleries de Willanow ait l’anne 1725. Chambre qui precede la Gallerie
846:
2837:
1846:
368:
284:
has been described as one of David's masterpieces, marking the return of equestrian portraiture to European painting of the late 18th century.
642:
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.
489:
2486:
523:
of the composition—a preparatory study drawing initially believed to be a 19th-century sketch. The drawing portrays Potocki adorned with the
277:
1513:
2541:
1801:
Schnapper, Antoine (1975). "Portrait of Count Stanislas Potocki". In Cummings, Frederick J.; Rosenberg, Pierre; Rosenblum, Robert (eds.).
2968:
318:
and Roman art, particularly following his visit to Naples in 1779. A prolific portraitist, David pursued commissions from an array of
2943:
2503:
1746:
Guile, Carolyn C. (December 2013). "Winckelmann in Poland: An Eighteenth-Century Response to the 'History of the Art of Antiquity'".
359:. He traveled extensively around Europe, visiting Italy, France, Switzerland and Germany between 1772 and 1775. In 1776, he married
2701:
2511:
1197:
2869:
2829:
2693:
470:
This version of events was later confirmed by David's grandson, Jacques-Louis-Jules David, who in 1880 published an album titled
1416:
2717:
1979:
1652:
1616:
1586:
721:
Scholars have also addressed the political resonance of the painting. According to Palmer, the portrait might symbolize the "
403:
1305:
The first record of the work matching the description of David's portrait of Potocki appears in a register dated 1783–1794 (
505:
While Ryszkiewicz's claim influenced art historical research into the origins of the work in the subsequent decades, a 2019
2765:
2325:
654:, and marking the return to prominence of equestrian portraiture in European late 18th-century painting. The art historian
1900:[Equestrian Portrait of Stanisław Kostka Potocki J.-L. David in Light of New Conservation and Archival Research].
2589:
1521:. Vol. 1. Washington, D.C.: The Collections of the National Gallery of Art Systematic Catalogue. pp. 193–196.
1812:
682:
372:
356:
1126:, held in the National Museum in Warsaw, shows the wing of the palace in which David's painting was shown before 1834.
597:
2973:
2479:
2389:
2361:
2217:
2192:
2145:
2105:
2080:
1770:
1730:
1526:
1458:
771:
In his 1930 biographical study of the artist, art historian Richard Cantinelli noted that David began working on the
528:
399:
267:
183:
1004:
from 1862, among numerous other paintings and works on paper, were returned during an official ceremony held at the
2208:
Johns, Christopher M.S. (2006). "The Roman Experience of Jacques-Louis David, 1775-80". In Johnson, Dorothy (ed.).
2036:
Guichard, Charlotte (April 2018). "Signatures, Authorship and Autographie in Eighteenth-Century French Painting".
301:, a 19th-century style in European academic art profoundly influenced by the aesthetic order and monumentality of
2983:
2953:
1264:
775:
in Rome and departed for Paris on July 17, 1780. In Paris, he finished the painting and displayed it at the 1781
722:
438:
258:
collection that had been restituted by the USSR in the war's aftermath. In 1956, David's painting was officially
2431:
2011:
1898:"Portret konny Stanisława Kostki Potockiego J.-L. Davida w świetle nowych badań konserwatorskich i archiwalnych"
1807:(exh. cat.). New York and Detroit: The Metropolitan Museum of Art, Detroit Institute of Arts. pp. 363–364.
1067:
for her daughter Aleksandra Potocka, prompting some researchers to speculate that the portrait currently in the
2565:
975:
884:) of the palace. in 1805, the collection was officially opened to the public, becoming one of the first public
793:
760:
387:
2773:
1802:
1064:
850:
734:
Marie-Anne Pierrette Paulze—created by an artist he asserts was "determined to engage his talent to climb the
2958:
2733:
1252:
1011:
Subsequently, the portrait was placed in the collection of the National Museum in Warsaw. In 1990, after the
2517:
225:, which had been owned by the Potocki family since 1799. In 1805, the palace became one of the first public
2924:
2885:
2805:
2661:
2472:
245:
1668:
974:
and then to Germany. During Jacques-Louis David's bi-centenary exhibition in Paris in 1948, art historian
2757:
2749:
2677:
2605:
2597:
2549:
2525:
1012:
983:
781:
498:). In the 1960s, Polish art historian Andrzej Ryszkiewicz challenged this narrative, asserting a lack of
249:
1022:
998:
to Poland in the same year. The remaining works, which included the portrait by David and Jan Matejko's
175:
102:
2813:
2789:
2781:
2685:
2621:
2613:
455:
427:
391:
1318:
2797:
2637:
2295:"Pamiętnik wystawy "Warszawa oskarża": 3 maja 1945 - 28 stycznia 1946 w Muzeum Narodowym w Warszawie"
2268:
1038:
524:
395:
197:
remain debated. Some historians believe Potocki directly requested it in 1780, while others suggest
2269:"Painting the National Portrait: Retrospective Exhibitions of French and Italian Art in the 1930's"
921:
861:
802:
659:
978:
described the portrait of Potocki as one of the "important works" missing from the show. In 1952,
962:
by the Nazi forces. According to surviving records, the painting was stolen by a group led by the
553:
2978:
2861:
2853:
2725:
1143:
991:
601:
Detail of the 1781 painting by David showing the artist's signature inscribed on the dog's collar
263:
2326:"WilanĂłw works of art in the German Catalogue Sichergestellte Kunstwerke im Generalgouvernement"
900:—the portrait of Potocki was relocated to Warsaw for safekeeping, where it remained until 1834.
579:
1923:
Sandström, Birgitta (1988). "An Equestrian Portrait of the Duc d'Orléans by Alexander Roslin".
1272:
477:
198:
1000:
2988:
2877:
2741:
2645:
2533:
2355:
1256:
1075:
939:
360:
259:
502:
to confirm that the 1780 encounter between David and Potocki in Naples had ever transpired.
330:". While the artist's political alliances shifted over time—he actively participated in the
2963:
1695:
1645:
Stanisław Kostka Potocki: studium magnackiej kariery w dobie upadku i "wskrzeszenia" Polski
1263:, he managed to dismantle the privileges of the academy one by one and, as a member of the
1202:
934:
in Paris. In 1932, the portrait, along with several other works by David, was shown at the
415:
171:
987:
305:. Between 1775 and 1780, David lived in Rome, where he was influenced by the paintings of
8:
2629:
2495:
1483:
1276:
1119:
323:
302:
155:
151:
62:
355:. Potocki was a Polish nobleman who would later become an influential politician in the
338:
in 1804—David remained committed to the tenets of Neo-Classicism throughout his career.
2709:
1948:
1840:
917:
419:
2140:(English translation after Fried). Chicago: University of Chicago Press. p. 160.
1321:
in Warsaw. See detailed discussion of the painting's provenance during that period in
718:
David's glittering name shines forth, catching the light and the viewer's attention".
677:
Schnapper also concludes that the "horse's forequarters" correspond to a 17th-century
2385:
2343:
2213:
2188:
2141:
2101:
2076:
2053:
1975:
1952:
1940:
1808:
1766:
1726:
1703:
1648:
1622:
1612:
1582:
1546:
1522:
1464:
1454:
1386:
1192:
1187:
889:
842:
698:
663:
614:
499:
331:
222:
189:
Potocki first encountered Jacques-Louis David in Italy during the artist's 1779–1780
2436:
1267:
in 1793, obtained the decree that abolished it altogether. An admirer and friend of
779:. The exhibition was David's Salon debut and Potocki's portrait was shown alongside
701:
in 1618, had been copied by David sometime prior to 1780 and later exhibited at the
214:
2821:
2333:
2302:
2045:
1932:
1063:
is described as "a study by David" made in 1781 which was bought later in Paris by
1047:
1005:
814:
706:
667:
567:
394:
in 1793. His contributions to the country were recognized by two state awards: the
306:
194:
2073:
Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment
938:, an extensive survey show of French art across seven centuries, organized at the
2903:
967:
714:
583:
407:
383:
326:, but also what the art historian Allison Lee Palmer has called the "enlightened
135:
2454:
1896:
Guzowska, Anna; Kwiatkowska, Anna; Walawender-Musz, Dominika (15 October 2019).
916:. The ownership of the palace and the collection was subsequently passed to the
1207:
897:
674:, a sketch of which David had completed prior to painting the Polish nobleman.
481:
92:
2338:
1107:
Reproduction of a copy of David's portrait made by Pawliszak in or around 1905
2937:
2908:
2347:
2306:
2057:
1944:
1707:
1626:
1390:
1251:
leader of a dissident faction of junior members. By enlisting the aid of the
1095:
Receipt issued by David to Potocki for the sale of an artwork in Rome in 1780
806:
776:
735:
655:
606:
485:
298:
206:
179:
147:
2049:
1468:
888:
in Poland. In 1831, amid concerns of potential Russian pillaging due to the
544:
2294:
1260:
1182:
995:
979:
959:
931:
810:
732:
1788 depiction of the French chemist Antoine-Laurent Lavoisier and his wife
686:
327:
241:
237:
143:
87:
80:
1606:
351:
Potocki reportedly first met David in Italy during the artist's 1779–1780
112:
304 cm Ă— 218 cm (120 in Ă— 86 in)
2164:
Gronkowski, Camille (1913). "'David et ses Eleves' at the Petit Palais".
2138:
Absorption and Theatricality: Painting and Beholder in the Age of Diderot
1448:
1268:
1158:
1034:
651:
515:
lent credibility to the account of David's grandson. The report analyzed
202:
2241:] (in Polish). Warsaw: Krajowa Agencja Wydawnicza. pp. 115–119.
1936:
1515:
French Paintings of the Nineteenth Century, Part I: Before Impressionism
1419:[The portrait of Stanisław Kostka Potocki returned to Wilanów].
971:
809:. When discussing Potocki's portrait, Diderot singled out David's light
1972:
An Outline of 19th-Century European Painting from David through CĂ©zanne
885:
705:. The importance of Rubens is also noted by the American art historian
379:
364:
352:
319:
226:
205:
a wild horse. The portrait of Potocki was first exhibited at the Paris
190:
159:
2464:
2407:
2384:(in Polish). Warsaw: Państwowy Instytut Wydawniczy. pp. 396–398.
248:
officials informed the Polish government (by then, the Soviet-aligned
1581:. Lanham, Maryland: Rowman & Littlefield Publishers. p. 90.
982:
authorities informed the Polish government (by then the USSR-aligned
963:
893:
836:
has received the highest amount of praise from contemporary critics,
751:
694:
690:
1608:
The Society Portrait: Painting, Prestige and the Pursuit of Elegance
944:
Exposition Internationale des Arts et Techniques dans la Vie Moderne
367:
family, and began his political activity in 1778 as a deputy to the
1213:
726:
710:
697:. The tapestry, designed after a composition originally painted by
678:
631:
335:
163:
1895:
1348:
1335:
1322:
244:
forces in December 1944 and then transported to Germany. In 1952,
1647:(in Polish). Warszawa: Muzeum Pałacu Króla Jana III w Wilanowie.
1043:
910:
collection, which included a reproduction of David's portrait of
520:
310:
213:
sometime before 1801. That year, the work was transferred to the
2273:
Il Capitale Culturale. Studies on the Value of Cultural Heritage
2075:. Stanford, California: Stanford University Press. p. 103.
1833:
Le peintre Louis David 1748–1825. Souvenirs et documents inédits
2252:
Cydzik, Jacek; Fijałkowski, Wojciech; Kupiecki, Edmund (1975).
702:
626:
610:
464:
314:
218:
210:
167:
2582:
Saint Roch Interceding with the Virgin for the Plague-Stricken
2212:. Newark, Delaware: University of Delaware Press. p. 67.
2100:. New Haven, Connecticut: Yale University Press. p. 127.
1046:
the artist provided to Potocki on 30 June 1780, and follow-up
788:
Saint Roch Interceding with the Virgin for the Plague-Stricken
709:
who described the horse in Potocki's portrait as a "Rubensian
1860:
Ryszkiewicz, Andrzej (1964). "Jacques Louis David i Polacy".
635:
618:
571:
516:
488:, an official art exhibition organized by the members of the
422:
with a strong interest in classical antiquity. He translated
1377:
Rosenblum, Robert (1973). "David's 'Funeral of Patroclus'".
252:) that the portrait was among numerous other works from the
896:
that had erupted on 29 November 1830 against the occupying
622:
233:
alongside the rest of the Potocki family's art collection.
1579:
Historical Dictionary of Neoclassical Art and Architecture
564:
Equestrian Portrait of Thomas Francis, Prince of Carignano
276:
and put on permanent display. Now part of the state-owned
2251:
1417:"Portret Stanisława Kostki Potockiego wrócił do Wilanowa"
1275:(January and October 1793) and briefly presided over the
639:
334:
before being appointed “First Painter to the Emperor” by
297:
Jacques-Louis David was a major French representative of
2558:
Erasistratus Discovering the Cause of Antiochus' Disease
1314:
Portrait d'un homme Ă cheval gr: nat: Peintres: de David
341:
2187:. New York: Alpine Fine Arts Collection. p. 54.
1725:. Chicago: University of Chicago Press. p. 148.
390:, a decisive military conflict that precipitated the
201:
commissioned the work after Potocki impressed him by
1763:
Painters and Public Life in Eighteenth-Century Paris
853:, the sister of Potocki's wife Aleksandra, in 1778.
2574:
Saint Jerome Hears the Trumpet of the Last Judgment
2012:"Rubens and an outstanding display of Roman virtue"
1999:. New York: Metropolitan Museum of Art. p. 93.
509:report from the Museum of King Jan III's Palace in
2670:The Lictors Bring to Brutus the Bodies of His Sons
2654:Portrait of Antoine-Laurent Lavoisier and his Wife
2406:
2301:(in Polish) (20). National Museum in Warsaw: 629.
650:The portrait has been described as one of David's
609:against a grey wall on top of which two classical
292:
193:, although the details surrounding the portrait's
1765:. New Haven: Yale University Press. p. 203.
1453:. New Haven: Yale University Press. p. 292.
1028:
949:
476:celebrating the artist's oeuvre. He claimed that
2949:Art and cultural repatriation after World War II
2935:
2408:"Jacques-Louis David: A Bi-Centenary Exhibition"
1804:French Painting 1774–1830: The Age of Revolution
1675:(in Polish). Warsaw: Polskie Wydawnictwo Naukowe
1349:Guzowska, Kwiatkowska & Walawender-Musz 2019
1336:Guzowska, Kwiatkowska & Walawender-Musz 2019
1323:Guzowska, Kwiatkowska & Walawender-Musz 2019
817:completed by the artist during the same period.
1796:
1794:
1792:
1790:
1788:
1786:
1784:
1782:
1723:The Villas of Pliny from Antiquity to Posterity
1547:"The Legacy of Jacques Louis David (1748–1825)"
630:characterized as the "finest" clothing: yellow
1512:Eitner, Lorenz (2000). "Jacques-Louis David".
1061:Equestrian Portrait of Count Stanislas Potocki
970:in December 1944, who first transported it to
956:Equestrian Portrait of Count Stanislas Potocki
838:Equestrian Portrait of Count Stanislas Potocki
773:Equestrian Portrait of Count Stanislas Potocki
765:Equestrian Portrait of Count Stanislas Potocki
426:, a 1764 treatise by the German art historian
282:Equestrian Portrait of Count Stanislas Potocki
262:to Poland and placed in the collection of the
231:Equestrian Portrait of Count Stanislas Potocki
131:Equestrian Portrait of Count Stanislas Potocki
37:Equestrian Portrait of Count Stanislas Potocki
2480:
2239:WilanĂłw. The residence of the Victorious King
1008:in St. Petersburg (then Leningrad) in 1956.
920:in 1892. In 1913, it was featured in David's
645:
2838:Portrait of comte Antoine Français de Nantes
2125:(in French). Paris: G. van Oest. p. 13.
1868:. Warsaw: Polish Academy of Sciences: 89–90.
1779:
1312:
1306:
1237:is used when discussing the portrait, while
1166:
1068:
1054:
1016:
925:
911:
905:
870:
847:Marie Casimire Louise de La Grange d'Arquien
510:
493:
471:
448:
342:
271:
253:
2324:Kudelski, Jarosław Robert (7 August 2019).
2266:
2232:
1859:
1642:
1611:. London: Thames & Hudson. p. 40.
1450:Painting and Sculpture in France, 1700-1789
1023:Museum of King John III's Palace at WilanĂłw
495:Académie royale de peinture et de sculpture
2487:
2473:
2292:
2163:
2120:
1845:: CS1 maint: location missing publisher (
1604:
1553:. New York: The Metropolitan Museum of Art
1490:. New York: The Metropolitan Museum of Art
1033:The painting has been often reproduced in
994:at the time, the initial set of works was
867:Portrait of Count Stanislas Kostka Potocki
856:
801:, all of which were praised by the French
741:
369:Sejm of the Polish–Lithuanian Commonwealth
140:Portret konny Stanisława Kostki Potockiego
121:Museum of King Jan III's Palace at WilanĂłw
50:
44:Portret konny Stanisława Kostki Potockiego
2542:Diana and Apollo Killing Niobe's Children
2337:
2182:
1925:Bulletin of the Detroit Institute of Arts
1922:
1800:
1721:Du Prey, Pierre de la Ruffinière (1994).
1693:
1376:
1293:
527:ribbon, awarded in 1780, rather than the
2702:Portrait of Madame Marie-Louise Trudaine
2323:
2279:. Macerata: University of Macerata: 295.
2035:
1902:Muzeum Pałacu Króla Jana III w Wilanowie
1198:List of paintings by Jacques-Louis David
942:in London. In 1937, it was exhibited at
860:
750:
658:notes the influence of two 17th-century
596:
437:
2870:The Farewell of Telemachus and Eucharis
2830:The Distribution of the Eagle Standards
2694:Portrait of Philippe-Laurent de Joubert
2494:
2379:
2009:
1974:. New York: Routledge. pp. 15–31.
1720:
1545:Galitz, Kathryn Calley (October 2004).
490:Royal Academy of Painting and Sculpture
14:
2936:
2404:
2375:
2373:
2371:
2288:
2286:
2267:Kangaslahti, Kate (12 December 2016).
2159:
2157:
2095:
1997:Jacques-Louis David: Radical Draftsman
1994:
1969:
1576:
1544:
1511:
1481:
1341:
1328:
1299:
1286:
1280:
519:of the original painting and an early
363:, a member of the aristocratic Polish
313:masters, prompting him to abandon the
2718:The Last Moments of Michel Lepeletier
2468:
2299:Rocznik Muzeum Narodowego w Warszawie
2210:Jacques-Louis David: New Perspectives
2207:
2135:
2070:
1891:
1889:
1887:
1885:
1883:
1881:
1879:
1877:
1875:
1830:
1826:
1824:
1745:
1638:
1636:
1600:
1598:
1446:
1442:
1440:
1438:
1244:
1227:
875:Palace in 2019 following conservation
746:
287:
2766:The Intervention of the Sabine Women
2456:Portret Stanisława Kostki Potockiego
2432:"Dzieła uratowane z wojennej pożogi"
2429:
2098:Jacques-Louis David: Empire to Exile
1760:
1750:(9). University of Birmingham: 1–24.
1572:
1570:
1568:
1540:
1538:
1507:
1505:
1410:
1408:
1406:
1404:
1402:
1400:
1372:
1370:
1368:
1050:between the two dated 10 July 1780.
404:Warsaw Society of Friends of Science
29:1781 painting by Jacques-Louis David
2590:Portrait of Count Stanislas Potocki
2368:
2283:
2235:Wilanów. Rezydencja Króla Zwycięzcy
2154:
2064:
1831:David, Jacques-Louis-Jules (1880).
1754:
1414:
1273:beheading of the king and the queen
1015:, the work was transferred back to
681:fragment illustrating the story of
672:Thomas Francis, Prince of Carignano
24:
18:Portrait of count Stanislas Potocki
2904:Marguerite Charlotte PĂ©coul (wife)
2790:Napoleon at the Saint-Bernard Pass
2089:
2010:Behrens, Edward (3 January 2023).
1872:
1821:
1698:[Extraordinary portrait].
1633:
1595:
1435:
936:Exhibition of French Art 1200–1900
418:in 1816. Potocki was also an avid
146:on canvas completed by the French
25:
3000:
2448:
2419:(547): 276–280 – via JSTOR.
1565:
1551:Heilbrunn Timeline of Art History
1535:
1502:
1488:Heilbrunn Timeline of Art History
1397:
1365:
1311:), under number 66 a work titled
2944:Portraits by Jacques-Louis David
2920:
2919:
2405:Cooper, Douglas (October 1948).
1292:The English translation follows
1151:
1142:, 1780, graphite laid on paper (
1131:
1124:View of the Palace from the Park
1112:
1100:
1088:
552:
543:
473:Le peintre Louis David 1748–1825
2423:
2398:
2317:
2260:
2245:
2226:
2201:
2176:
2129:
2121:Cantinelli, Richard R. (1930).
2114:
2029:
2003:
1988:
1963:
1916:
1853:
1835:(in French). Paris. p. 13.
1739:
1714:
1687:
1661:
1482:Gontar, Cybele (October 2003).
1334:This hypothesis is proposed by
1265:Committee of Public Instruction
1140:An Antique Sculpture of a Horse
849:in 1681–1696, was inherited by
638:. Potocki is seen removing his
529:Polish Order of the White Eagle
424:History of the Art of Antiquity
293:Jacques-Louis David (1748–1824)
278:Museum of King Jan III's Palace
268:end of communist rule in Poland
184:Polish Order of the White Eagle
2969:Polish–Lithuanian Commonwealth
2566:The Funeral Games of Patroclus
2256:. Warsaw: Arkady. p. 272.
2233:Fijałkowski, Wojciech (1983).
2123:Jacques-Louis David, 1748-1825
1475:
1233:In this article, the spelling
1029:Print reproductions and copies
990:, who was the director of the
954:In 1944, during World War II,
950:World War II and its aftermath
794:The Funeral Games of Patroclus
592:
357:Polish–Lithuanian Commonwealth
229:in Poland, displaying David's
178:. The artist shows Potocki on
13:
1:
2430:Wita, Ignacy (10 July 1956).
2360:: CS1 maint: date and year (
1748:Journal of Art Historiography
1643:Getka-Kenig, Mikołaj (2021).
1415:Kuc, Monika (7 August 2016).
1358:
813:, which stood in contrast to
433:
270:, it was transferred back to
221:in the late 17th century for
2886:Mars Being Disarmed by Venus
2806:Napoleon in Imperial Costume
2662:The Loves of Paris and Helen
2293:Kaczmarzyk, Dariusz (1976).
1605:Badea-Päun, Gabriel (2007).
1577:Palmer, Allison Lee (2020).
761:Palais des Beaux-Arts, Lille
182:and wearing the sash of the
158:, the work depicts a Polish
7:
2774:Portrait of Madame RĂ©camier
2750:Portrait of Pierre Seriziat
2678:Portrait of Madame Pastoret
2598:Belisarius Begging for Alms
2183:Schnapper, Antoine (1982).
1176:
1065:ElĹĽbieta Izabela Lubomirska
1013:fall of communism in Poland
834:Belisarius Begging for Alms
797:, and a composition titled
782:Belisarius Begging for Alms
757:Belisarius Begging for Alms
617:notes that the presence of
534:
412:Towarzystwo Przyjaciół Nauk
10:
3005:
2814:The Coronation of Napoleon
2782:Portrait of Cooper Penrose
2622:Portrait of Alphonse Leroy
2614:Andromache Mourning Hector
2518:Portrait of François Buron
1669:"Potocki Stanisław Kostka"
1081:
799:A Woman Suckling Her Child
767:at the Paris Salon in 1781
763:) was exhibited alongside
646:Influences and scholarship
613:are placed. Art historian
576:Napoleon Crossing the Alps
456:National Library of Poland
428:Johann Joachim Winckelmann
392:Second Partition of Poland
388:Polish–Russian War of 1792
2917:
2896:
2798:Portrait of Pope Pius VII
2502:
2339:10.5604/01.3001.0013.3341
2096:Bordes, Philippe (2005).
1995:Bordes, Philippe (2022).
1694:Poprzęcka, Maria (2005).
1167:
1069:
1055:
1017:
992:National Museum in Warsaw
912:
906:
871:
803:Enlightenment philosopher
685:, a 4th-century BCE
605:David depicts Potocki on
511:
396:Order of Saint Stanislaus
343:
272:
266:. In 1990, following the
264:National Museum in Warsaw
254:
116:
108:
98:
86:
76:
68:
58:
49:
41:
36:
2974:Enlightenment philosophy
2380:Jarocki, Robert (1981).
2307:10.11588/diglit.19582.17
1761:Crow, Thomas E. (1985).
1241:is used for its subject.
1220:
1163:Stanisław Kostka Potocki
984:Polish People's Republic
913:Stanisław Kostka Potocki
562:Left: Anthony van Dyck,
450:Stanisław Kostka Potocki
400:Order of the White Eagle
344:Stanisław Kostka Potocki
307:Italian High Renaissance
250:Polish People's Republic
217:, built originally as a
176:Stanisław Kostka Potocki
103:Stanisław Kostka Potocki
2854:Leonidas at Thermopylae
2726:The Death of Young Bara
2413:The Burlington Magazine
2136:Fried, Michael (1988).
2050:10.1111/1467-8365.12328
1970:Eitner, Lorenz (2021).
1862:Rocznik Historii Sztuki
1447:Levey, Michael (1993).
1379:The Burlington Magazine
1319:Krakowskie Przedmieście
1144:National Gallery of Art
1053:In an 1877 ledger from
857:Later years (1781–1939)
742:Reception and ownership
725:debate" of whether the
525:Order of St. Stanislaus
447:Equestrian Portrait of
209:in 1781 and brought to
154:in 1781. A large-scale
2984:18th-century paintings
2954:18th-century portraits
1696:"Niezwyczajny portret"
1313:
1307:
926:
876:
830:
768:
602:
494:
478:Ferdinand IV of Naples
472:
459:
449:
411:
199:Ferdinand IV of Naples
139:
2878:The Anger of Achilles
2846:Napoleon in His Study
2734:The Tennis Court Oath
2646:The Death of Socrates
2534:Minerva Fighting Mars
2071:Wolff, Larry (1994).
1259:, and finally of the
1257:the National Assembly
1138:Jacques-Louis David,
1076:Franciszek Smuglewicz
940:Royal Academy of Arts
864:
819:
805:and prominent writer
754:
600:
441:
382:and would serve as a
361:Aleksandra Lubomirska
2959:Equestrian portraits
1203:Partitions of Poland
713:". In examining the
621:beneath the horse's
580:Château de Malmaison
416:University of Warsaw
172:Enlightenment Period
2630:Oath of the Horatii
2606:Christ on the Cross
2550:The Death of Seneca
2526:Jupiter and Antiope
2496:Jacques-Louis David
2382:Rozmowy z Lorentzem
2166:Burlington Magazine
1937:10.1086/DIA41504785
1271:, he voted for the
1120:Wincenty Kasprzycki
927:David et ses Eleves
827:Denis Diderot, 1781
693:himself during the
500:historical evidence
303:classical antiquity
156:equestrian portrait
152:Jacques-Louis David
63:Jacques-Louis David
2737:(1794, incomplete)
2729:(1794, incomplete)
2710:The Death of Marat
2705:(1792, unfinished)
2686:Lycurgus of Sparta
877:
851:Izabela Lubomirska
769:
747:Paris Salon (1781)
683:Publius Decius Mus
603:
460:
414:) in 1800 and the
373:Lublin Voivodeship
288:Historical context
2931:
2930:
2638:The Vestal Virgin
1981:978-0-429-70891-6
1702:(in Polish) (8).
1654:978-83-66104-75-4
1618:978-0-500-23842-4
1588:978-1-5381-3359-0
1193:History of Warsaw
1188:History of Poland
988:Stanisław Lorentz
890:November Uprising
843:John III Sobieski
815:history paintings
664:Peter Paul Rubens
615:Antoine Schnapper
574:). Right: David,
332:French Revolution
236:The painting was
223:John III Sobieski
127:
126:
16:(Redirected from
2996:
2923:
2922:
2862:Cupid and Psyche
2822:Sappho and Phaon
2758:Psyche Abandoned
2489:
2482:
2475:
2466:
2465:
2461:
2442:
2441:
2427:
2421:
2420:
2410:
2402:
2396:
2395:
2377:
2366:
2365:
2359:
2351:
2341:
2321:
2315:
2314:
2290:
2281:
2280:
2264:
2258:
2257:
2249:
2243:
2242:
2230:
2224:
2223:
2205:
2199:
2198:
2180:
2174:
2173:
2161:
2152:
2151:
2133:
2127:
2126:
2118:
2112:
2111:
2093:
2087:
2086:
2068:
2062:
2061:
2033:
2027:
2026:
2024:
2022:
2007:
2001:
2000:
1992:
1986:
1985:
1967:
1961:
1960:
1920:
1914:
1913:
1911:
1909:
1893:
1870:
1869:
1857:
1851:
1850:
1844:
1836:
1828:
1819:
1818:
1798:
1777:
1776:
1758:
1752:
1751:
1743:
1737:
1736:
1718:
1712:
1711:
1691:
1685:
1684:
1682:
1680:
1673:Encyklopedia PWN
1665:
1659:
1658:
1640:
1631:
1630:
1602:
1593:
1592:
1574:
1563:
1562:
1560:
1558:
1542:
1533:
1532:
1520:
1509:
1500:
1499:
1497:
1495:
1479:
1473:
1472:
1444:
1433:
1432:
1430:
1428:
1412:
1395:
1394:
1385:(846): 567–577.
1374:
1352:
1345:
1339:
1332:
1326:
1316:
1310:
1303:
1297:
1290:
1284:
1253:Commune of Paris
1248:
1242:
1231:
1170:
1169:
1155:
1135:
1116:
1104:
1092:
1072:
1071:
1058:
1057:
1020:
1019:
1006:Hermitage Museum
929:
915:
914:
909:
908:
874:
873:
828:
723:prerevolutionary
707:Robert Rosenblum
695:Second Latin War
668:Anthony van Dyck
625:could suggest a
568:Galleria Sabauda
556:
547:
514:
513:
497:
475:
467:Riding School".
452:
398:in 1780 and the
346:
345:
275:
274:
257:
256:
54:
34:
33:
21:
3004:
3003:
2999:
2998:
2997:
2995:
2994:
2993:
2934:
2933:
2932:
2927:
2913:
2892:
2498:
2493:
2459:
2451:
2446:
2445:
2428:
2424:
2403:
2399:
2392:
2378:
2369:
2353:
2352:
2332:(60): 189–198.
2322:
2318:
2291:
2284:
2265:
2261:
2250:
2246:
2231:
2227:
2220:
2206:
2202:
2195:
2181:
2177:
2162:
2155:
2148:
2134:
2130:
2119:
2115:
2108:
2094:
2090:
2083:
2069:
2065:
2034:
2030:
2020:
2018:
2016:Apollo Magazine
2008:
2004:
1993:
1989:
1982:
1968:
1964:
1921:
1917:
1907:
1905:
1894:
1873:
1858:
1854:
1838:
1837:
1829:
1822:
1815:
1799:
1780:
1773:
1759:
1755:
1744:
1740:
1733:
1719:
1715:
1692:
1688:
1678:
1676:
1667:
1666:
1662:
1655:
1641:
1634:
1619:
1603:
1596:
1589:
1575:
1566:
1556:
1554:
1543:
1536:
1529:
1518:
1510:
1503:
1493:
1491:
1484:"Neoclassicism"
1480:
1476:
1461:
1445:
1436:
1426:
1424:
1413:
1398:
1375:
1366:
1361:
1356:
1355:
1346:
1342:
1333:
1329:
1304:
1300:
1291:
1287:
1249:
1245:
1232:
1228:
1223:
1179:
1172:
1156:
1147:
1136:
1127:
1117:
1108:
1105:
1096:
1093:
1084:
1031:
968:Eberhard Kinzel
952:
918:Branicki family
859:
829:
826:
749:
744:
660:Flemish Baroque
648:
595:
590:
589:
588:
587:
584:Rueil-Malmaison
559:
558:
557:
549:
548:
537:
436:
349:
322:, not only the
295:
290:
30:
23:
22:
15:
12:
11:
5:
3002:
2992:
2991:
2986:
2981:
2979:1781 paintings
2976:
2971:
2966:
2961:
2956:
2951:
2946:
2929:
2928:
2918:
2915:
2914:
2912:
2911:
2906:
2900:
2898:
2894:
2893:
2891:
2890:
2882:
2874:
2866:
2858:
2850:
2842:
2834:
2826:
2818:
2810:
2802:
2794:
2786:
2778:
2770:
2762:
2754:
2746:
2738:
2730:
2722:
2714:
2706:
2698:
2690:
2682:
2674:
2666:
2658:
2650:
2642:
2634:
2626:
2618:
2610:
2602:
2594:
2586:
2578:
2570:
2562:
2554:
2546:
2538:
2530:
2522:
2514:
2508:
2506:
2500:
2499:
2492:
2491:
2484:
2477:
2469:
2463:
2462:
2450:
2449:External links
2447:
2444:
2443:
2437:Życie Warszawy
2422:
2397:
2390:
2367:
2316:
2282:
2259:
2244:
2225:
2218:
2200:
2193:
2175:
2153:
2146:
2128:
2113:
2106:
2088:
2081:
2063:
2044:(2): 278–279.
2028:
2002:
1987:
1980:
1962:
1915:
1871:
1852:
1820:
1814:978-1135414801
1813:
1778:
1771:
1753:
1738:
1731:
1713:
1686:
1660:
1653:
1632:
1617:
1594:
1587:
1564:
1534:
1527:
1501:
1474:
1459:
1434:
1421:Rzeczpospolita
1396:
1363:
1362:
1360:
1357:
1354:
1353:
1340:
1327:
1298:
1294:Schnapper 1975
1285:
1243:
1225:
1224:
1222:
1219:
1218:
1217:
1210:
1208:Russian Empire
1205:
1200:
1195:
1190:
1185:
1178:
1175:
1174:
1173:
1171:Palace Museum)
1157:
1150:
1148:
1137:
1130:
1128:
1118:
1111:
1109:
1106:
1099:
1097:
1094:
1087:
1083:
1080:
1074:Polish artist
1048:correspondence
1030:
1027:
976:Douglas Cooper
951:
948:
898:Russian Empire
869:on display at
858:
855:
824:
748:
745:
743:
740:
647:
644:
594:
591:
561:
560:
551:
550:
542:
541:
540:
539:
538:
536:
533:
435:
432:
378:Potocki was a
348:
340:
299:Neo-Classicism
294:
291:
289:
286:
215:WilanĂłw Palace
125:
124:
118:
114:
113:
110:
106:
105:
100:
96:
95:
93:Neo-Classicism
90:
84:
83:
78:
74:
73:
70:
66:
65:
60:
56:
55:
47:
46:
39:
38:
28:
9:
6:
4:
3:
2:
3001:
2990:
2987:
2985:
2982:
2980:
2977:
2975:
2972:
2970:
2967:
2965:
2962:
2960:
2957:
2955:
2952:
2950:
2947:
2945:
2942:
2941:
2939:
2926:
2916:
2910:
2909:Neoclassicism
2907:
2905:
2902:
2901:
2899:
2895:
2888:
2887:
2883:
2880:
2879:
2875:
2872:
2871:
2867:
2864:
2863:
2859:
2856:
2855:
2851:
2848:
2847:
2843:
2840:
2839:
2835:
2832:
2831:
2827:
2824:
2823:
2819:
2816:
2815:
2811:
2808:
2807:
2803:
2800:
2799:
2795:
2792:
2791:
2787:
2784:
2783:
2779:
2776:
2775:
2771:
2768:
2767:
2763:
2760:
2759:
2755:
2752:
2751:
2747:
2744:
2743:
2742:Self-Portrait
2739:
2736:
2735:
2731:
2728:
2727:
2723:
2720:
2719:
2715:
2712:
2711:
2707:
2704:
2703:
2699:
2696:
2695:
2691:
2688:
2687:
2683:
2680:
2679:
2675:
2672:
2671:
2667:
2664:
2663:
2659:
2656:
2655:
2651:
2648:
2647:
2643:
2640:
2639:
2635:
2632:
2631:
2627:
2624:
2623:
2619:
2616:
2615:
2611:
2608:
2607:
2603:
2600:
2599:
2595:
2592:
2591:
2587:
2584:
2583:
2579:
2576:
2575:
2571:
2568:
2567:
2563:
2560:
2559:
2555:
2552:
2551:
2547:
2544:
2543:
2539:
2536:
2535:
2531:
2528:
2527:
2523:
2520:
2519:
2515:
2513:
2512:List of works
2510:
2509:
2507:
2505:
2501:
2497:
2490:
2485:
2483:
2478:
2476:
2471:
2470:
2467:
2458:
2457:
2453:
2452:
2439:
2438:
2433:
2426:
2418:
2414:
2409:
2401:
2393:
2391:83-06-00572-4
2387:
2383:
2376:
2374:
2372:
2363:
2357:
2349:
2345:
2340:
2335:
2331:
2327:
2320:
2313:
2308:
2304:
2300:
2296:
2289:
2287:
2278:
2274:
2270:
2263:
2255:
2248:
2240:
2236:
2229:
2221:
2219:0-87413-930-9
2215:
2211:
2204:
2196:
2194:0-933516-59-2
2190:
2186:
2179:
2171:
2167:
2160:
2158:
2149:
2147:0-226-26213-8
2143:
2139:
2132:
2124:
2117:
2109:
2107:0-300-10447-2
2103:
2099:
2092:
2084:
2082:0-8047-2314-1
2078:
2074:
2067:
2059:
2055:
2051:
2047:
2043:
2039:
2032:
2017:
2013:
2006:
1998:
1991:
1983:
1977:
1973:
1966:
1959:
1954:
1950:
1946:
1942:
1938:
1934:
1930:
1926:
1919:
1903:
1899:
1892:
1890:
1888:
1886:
1884:
1882:
1880:
1878:
1876:
1867:
1864:(in Polish).
1863:
1856:
1848:
1842:
1834:
1827:
1825:
1816:
1810:
1806:
1805:
1797:
1795:
1793:
1791:
1789:
1787:
1785:
1783:
1774:
1772:0-300-03354-0
1768:
1764:
1757:
1749:
1742:
1734:
1732:0-226-17300-3
1728:
1724:
1717:
1709:
1705:
1701:
1697:
1690:
1674:
1670:
1664:
1656:
1650:
1646:
1639:
1637:
1628:
1624:
1620:
1614:
1610:
1609:
1601:
1599:
1590:
1584:
1580:
1573:
1571:
1569:
1552:
1548:
1541:
1539:
1530:
1528:0-89468-227-X
1524:
1517:
1516:
1508:
1506:
1489:
1485:
1478:
1470:
1466:
1462:
1460:0-300-05344-4
1456:
1452:
1451:
1443:
1441:
1439:
1422:
1418:
1411:
1409:
1407:
1405:
1403:
1401:
1392:
1388:
1384:
1380:
1373:
1371:
1369:
1364:
1350:
1344:
1337:
1331:
1324:
1320:
1315:
1309:
1302:
1295:
1289:
1283:, p. 194
1282:
1278:
1274:
1270:
1266:
1262:
1258:
1254:
1247:
1240:
1236:
1230:
1226:
1216:
1215:
1211:
1209:
1206:
1204:
1201:
1199:
1196:
1194:
1191:
1189:
1186:
1184:
1181:
1180:
1164:
1160:
1154:
1149:
1145:
1141:
1134:
1129:
1125:
1121:
1115:
1110:
1103:
1098:
1091:
1086:
1085:
1079:
1077:
1066:
1062:
1051:
1049:
1045:
1040:
1036:
1026:
1024:
1014:
1009:
1007:
1003:
1002:
997:
993:
989:
985:
981:
977:
973:
969:
965:
961:
957:
947:
945:
941:
937:
933:
928:
923:
922:retrospective
919:
901:
899:
895:
891:
887:
883:
868:
863:
854:
852:
848:
845:and his wife
844:
839:
835:
823:
818:
816:
812:
811:color palette
808:
807:Denis Diderot
804:
800:
796:
795:
790:
789:
784:
783:
778:
774:
766:
762:
758:
753:
739:
737:
736:social ladder
733:
728:
724:
719:
716:
712:
708:
704:
700:
696:
692:
688:
684:
680:
675:
673:
669:
665:
661:
657:
656:Lorenz Eitner
653:
643:
641:
637:
633:
628:
624:
620:
616:
612:
608:
599:
585:
581:
577:
573:
569:
565:
555:
546:
532:
530:
526:
522:
518:
508:
503:
501:
496:
491:
487:
483:
479:
474:
468:
466:
457:
453:
451:
445:
440:
431:
429:
425:
421:
420:art collector
417:
413:
409:
405:
401:
397:
393:
389:
385:
381:
376:
374:
370:
366:
362:
358:
354:
339:
337:
333:
329:
325:
321:
316:
312:
308:
304:
300:
285:
283:
279:
269:
265:
261:
251:
247:
243:
239:
234:
232:
228:
224:
220:
216:
212:
208:
204:
200:
196:
192:
187:
185:
181:
177:
173:
169:
165:
161:
157:
153:
149:
148:Neo-Classical
145:
141:
137:
133:
132:
122:
119:
115:
111:
107:
104:
101:
97:
94:
91:
89:
85:
82:
81:Oil on canvas
79:
75:
71:
67:
64:
61:
57:
53:
48:
45:
40:
35:
32:
27:
19:
2989:Portrait art
2884:
2876:
2868:
2860:
2852:
2844:
2836:
2828:
2820:
2812:
2804:
2796:
2788:
2780:
2772:
2764:
2756:
2748:
2740:
2732:
2724:
2721:(1793, lost)
2716:
2708:
2700:
2692:
2684:
2676:
2668:
2660:
2652:
2644:
2636:
2628:
2620:
2612:
2604:
2596:
2588:
2580:
2572:
2564:
2556:
2548:
2540:
2532:
2524:
2516:
2455:
2440:. p. 3.
2435:
2425:
2416:
2412:
2400:
2381:
2356:cite journal
2330:Muzealnictwo
2329:
2319:
2310:
2298:
2276:
2272:
2262:
2253:
2247:
2238:
2234:
2228:
2209:
2203:
2184:
2178:
2169:
2165:
2137:
2131:
2122:
2116:
2097:
2091:
2072:
2066:
2041:
2037:
2031:
2019:. Retrieved
2015:
2005:
1996:
1990:
1971:
1965:
1956:
1928:
1924:
1918:
1906:. Retrieved
1901:
1865:
1861:
1855:
1832:
1803:
1762:
1756:
1747:
1741:
1722:
1716:
1699:
1689:
1677:. Retrieved
1672:
1663:
1644:
1607:
1578:
1555:. Retrieved
1550:
1514:
1492:. Retrieved
1487:
1477:
1449:
1425:. Retrieved
1420:
1382:
1378:
1343:
1330:
1301:
1288:
1261:Jacobin Club
1246:
1238:
1234:
1229:
1212:
1183:Academic art
1162:
1139:
1123:
1060:
1052:
1032:
1010:
999:
955:
953:
935:
932:Petit Palais
902:
894:insurrection
881:
878:
866:
837:
833:
831:
820:
798:
792:
786:
780:
772:
770:
764:
756:
720:
687:Roman consul
676:
652:masterpieces
649:
634:and a white
604:
575:
563:
507:conservation
504:
482:hunting trip
469:
461:
446:
443:
423:
377:
350:
328:middle class
296:
281:
235:
230:
219:royal palace
188:
144:oil painting
130:
129:
128:
43:
31:
26:
2964:Dogs in art
2793:(1800–1805)
2460:(in Polish)
2038:Art History
1904:(in Polish)
1700:MĂłwiÄ… wieki
1423:(in Polish)
1281:Eitner 2000
1269:Robespierre
1159:Anton Graff
996:repatriated
886:art museums
691:sacrificing
593:Description
386:during the
347:(1755–1821)
324:aristocracy
242:Nazi German
227:art museums
2938:Categories
1427:25 January
1359:References
1277:Convention
1255:, then of
946:in Paris.
892:—an armed
882:White Hall
689:known for
662:painters,
434:Commission
365:Lubomirski
353:Grand Tour
309:and early
195:commission
191:Grand Tour
160:politician
109:Dimensions
2697:(c. 1792)
2641:(c. 1787)
2504:Paintings
2348:2391-4815
2058:0141-6790
1953:192745494
1945:0011-9636
1931:(1): 52.
1841:cite book
1708:1230-4018
1627:185155882
1391:0007-6287
1239:Stanisław
1235:Stanislas
964:Wehrmacht
832:Although
607:horseback
371:from the
238:plundered
180:horseback
2925:Category
2312:Germany.
2021:23 April
1958:Potocki.
1908:31 March
1679:23 April
1557:31 March
1494:23 April
1469:26586498
1214:Szlachta
1177:See also
1165:, 1785 (
1059:Palace,
1001:Stańczyk
972:Ĺšwidnica
966:General
865:David's
825:—
759:, 1781 (
727:nobility
711:stallion
679:tapestry
632:trousers
578:, 1801 (
566:, 1634 (
535:Analysis
454:, 1780 (
444:ketch of
442:David, S
336:Napoleon
260:returned
164:nobleman
150:painter
142:) is an
123:, Warsaw
117:Location
88:Movement
42:Polish:
2897:Related
2254:WilanĂłw
1168:WilanĂłw
1082:Gallery
1070:WilanĂłw
1056:WilanĂłw
1044:receipt
1018:WilanĂłw
930:at the
924:titled
907:WilanĂłw
872:WilanĂłw
755:David,
611:columns
521:modello
512:WilanĂłw
384:general
380:patriot
320:patrons
311:Baroque
273:WilanĂłw
255:WilanĂłw
170:of the
99:Subject
2889:(1824)
2881:(1819)
2873:(1818)
2865:(1817)
2857:(1814)
2849:(1812)
2841:(1811)
2833:(1810)
2825:(1809)
2817:(1807)
2809:(1805)
2801:(1805)
2785:(1802)
2777:(1800)
2769:(1799)
2761:(1795)
2753:(1795)
2745:(1794)
2713:(1793)
2689:(1791)
2681:(1791)
2673:(1789)
2665:(1788)
2657:(1788)
2649:(1787)
2633:(1784)
2625:(1783)
2617:(1783)
2609:(1782)
2601:(1781)
2593:(1780)
2585:(1780)
2577:(1779)
2569:(1778)
2561:(1774)
2553:(1773)
2545:(1772)
2537:(1771)
2529:(1771)
2521:(1769)
2388:
2346:
2216:
2191:
2144:
2104:
2079:
2056:
1978:
1951:
1943:
1811:
1769:
1729:
1706:
1651:
1625:
1615:
1585:
1525:
1467:
1457:
1389:
1039:copies
980:Soviet
960:looted
715:formal
703:Louvre
699:Rubens
627:stable
623:hooves
517:x-rays
465:Naples
408:Polish
315:Rococo
246:Soviet
211:Warsaw
203:taming
168:writer
166:, and
136:Polish
77:Medium
59:Artist
2237:[
2185:David
2172:: 87.
1949:S2CID
1519:(PDF)
1221:Notes
1035:print
822:(...)
777:Salon
636:shirt
619:straw
572:Turin
486:Salon
207:Salon
2386:ISBN
2362:link
2344:ISSN
2214:ISBN
2189:ISBN
2142:ISBN
2102:ISBN
2077:ISBN
2054:ISSN
2023:2023
1976:ISBN
1941:ISSN
1910:2023
1847:link
1809:ISBN
1767:ISBN
1727:ISBN
1704:ISSN
1681:2023
1649:ISBN
1623:OCLC
1613:ISBN
1583:ISBN
1559:2023
1523:ISBN
1496:2023
1465:OCLC
1455:ISBN
1429:2023
1387:ISSN
958:was
666:and
72:1781
69:Year
2334:doi
2303:doi
2046:doi
1933:doi
1383:115
1279:."
1122:'s
738:".
640:hat
240:by
2940::
2434:.
2417:90
2415:.
2411:.
2370:^
2358:}}
2354:{{
2342:.
2328:.
2309:.
2297:.
2285:^
2277:14
2275:.
2271:.
2170:23
2168:.
2156:^
2052:.
2042:41
2040:.
2014:.
1955:.
1947:.
1939:.
1929:64
1927:.
1874:^
1843:}}
1839:{{
1823:^
1781:^
1671:.
1635:^
1621:.
1597:^
1567:^
1549:.
1537:^
1504:^
1486:.
1463:.
1437:^
1399:^
1381:.
1367:^
1161:,
785:,
582:,
570:,
410::
375:.
280:,
174:,
162:,
138::
2488:e
2481:t
2474:v
2394:.
2364:)
2350:.
2336::
2305::
2222:.
2197:.
2150:.
2110:.
2085:.
2060:.
2048::
2025:.
1984:.
1935::
1912:.
1866:4
1849:)
1817:.
1775:.
1735:.
1710:.
1683:.
1657:.
1629:.
1591:.
1561:.
1531:.
1498:.
1471:.
1431:.
1393:.
1351:.
1338:.
1325:.
1296:.
1146:)
791:,
586:)
492:(
458:)
406:(
134:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
