TRAINING OF ARTISTS IN THE RESIDENCES OF THE RADVILAS IN THE EIGHTEENTH CENTURY The article summarizes data on the training of painters and sculptors in the eighteenth-century workshops of the Radvilas’ artists. We seek to evaluate it in the context of the educational phenomena of early modern times. The analysis concerns organization of training, teaching practices, and their dissemination. In the eighteenth century, training of the subjects was carried out in the Radvilas’ residences of several generations. Some teachers were subjects of the dukes, some – arrivals working under contracts. The Radvilas continuously renewed the manor using qualified masters. Some of them were foreigners, experienced artists that mastered different art techniques. Training usually took place in the manor although there are known cases of sponsored trips of the artists to larger cities of the Commonwealth of Both Nations, where subjects improved their skills in the workshops of local artists. In the Radvilas’ residences practical training was dominant. Basics of drawing were studied first, pupils drew sculptural models, copied paintings from the collections of the aristocrats, assisted to masters in implementing orders from the dukes. Thus training in the Radvilas’ residences was performed using practices common in training artists of the early modern times. In the context of training of the Radvilas’ artists stands out the project by Jeronimas Florijonas Radvila to establish a drawing school, which had to be directed by a member of the Viennese academy of painting, sculpture and architecture, painter and drawer Lorenzo Titian de Vecceli. Perhaps in 1756, an eight-year contract was concluded according to which he was to teach young men the drawing of landscapes, figures and ornaments. In the contract this drawing school was called academy, probably after a fashion of the similar eighteenth-century European, often small ones, schools, called academies. In Biala of Podlasie, Lorenzo Titian worked until the death of Florijonas Radvila in 1760. Although almost there is no data on activities of this artist in Biala, it is probable that the master was teaching to draw. Titian’s work for Radvila was brief and, possibly, did not have any significant influence on the education of the local artists. Despite this, Radvila’s idea and start of its implementation showed the need for higher level training of artists. Links of the Radvilas’ artists with professional and specialized educational institutions were rare. In the residences of the dukes, just like in the rest of the Grand Duchy of Lithuania, dominated little formalized education of artists. Although it was not always effective, it has produced a number of masters that continued working for the Radvilas. Tutors were usually shared among family members, although there is data on the work of the artists of the dukes for the representatives of other families. Having in mind the scope and dissemination of the training of artists, residences of the Radvilas can be considered one of the important centres of art education in the eighteenth-century Grand Duchy of Lithuania. Keywords: artist’s workshop, drawing school, education, eighteenth century, the Grand Duchy of Lithuania, the Radvilas.

Relying on written sources, the article examines the understanding of the authorship of artwork in the Radvila (Radziwiłł) Manor during the 18th century. Various types of sources are analysed: occasional literature, travel descriptions, correspondence of Radvilas’ officials, inventories of art collections, etc. Mentions of the authorship of artwork in the written sources of the manor were encouraged because of the reputation of artists. The assessments of the authorship were based on common knowledge and the experience of observing paintings. When paintings were evaluated, the general characteristics of the work’s quality were usually noted. Only occasionally the individual style of the authors was recognized. The author is primarily seen as tasked with the assurance of the work’s quality. The history of the art commissions by the Radvilas testifies that the understanding of the integrity of an author’s intention was not widespread in the noblemen’s manor. The clients had varying degrees of influence on the creative process. The noblemen often presented sketches and samples for the artists to base their work on. Still, even though the artist was often an implementer of the client’s idea, there were signs that showed the significance not only of the master’s handiwork but also of his mental input. The origins of these ideas came both from the Radvilas themselves and from the most appreciated and the most informed masters in the noblemen’s manor.

Zarys treściArtykuł traktuje o środowisku malarzy i rzeźbiarzy w Białej Podlaskiej za księcia Hieronima Floriana Radziwiłła (1747-1760. Zostaną w nim poruszone kwestie dotyczące kształtowania się grupy artystów dworskich, ich pochodzenia oraz życia społecznego i artystycznego, a także sposobów współpracy artystów różnego pochodzenia. AbstractThe article presents the community of artists (painters and sculptors) in Biała Podlaska under Prince Hieronim Florian Radziwiłł (1747-1760). The study focuses on the problem of artists' origins and characterizes their social and professional life. It presents social and cultural differences between the artists of various origins, and also describes their coexistence and interactions.Słowa kluczowe: Hieronim Florian Radziwiłł, artyści, Biała Podlaska, zamówienia dzieł sztuki, dwór artystyczny, pogranicza kulturowe, wielokulturowość

Patronage of Art at the Radvila Court During the Wettin Period: Widows, Wives and Daughters The article deals with the patronage of art by the Radvila women of the Nesvizh- Olyka branch of the family. It is seen as a complex organisational process that involved not only clients but also intermediaries. The aim is to reveal the typical roles of female patrons, identify the areas of art they supported the most, and assess the individual contribution of women. Firstly, the focus of the article is the hitherto less explored aspects of patronage by Ona Sanguškaitė-Radvilienė (1676–1746): her strategies for recruiting artists, the role of intermediaries, the organisation of artists’ work, and the duchess’s involvement in the execution of commissions. The article reveals how, assisted by intermediaries, this noblewoman could mobilise and control high-level professionals at her court. The duchess’s initiatives covered a wide range of artistic fields and had a lasting impact on several generations of the Radvila. Moreover, works by the masters from Ona Radvilienė’s court were passed on to other aristocrats of the Grand Duchy of Lithuania and supposedly influenced the art of their courts. The patronage of other Radvila women was less extensive. They were primarily involved in the decoration of the interiors of palaces and in commissioning portraits and religious paintings. The activities of Pranciška Uršulė Radvilienė (1703–1753) were quite significant in this field. Her education and amateur art practices may have influenced her artistic initiatives, her contacts with artists, and her mediation in executing her husband’s commissions. Research into the women’s activities during the Wettin period helps to reveal an important and still underestimated aspect of the social history of art in the Grand Duchy of Lithuania: the importance of family ties and cooperation in art commissions. The women often acted as intermediaries for their spouses and mother, Ona Sanguškaitė-Radvilienė. Compared to Western European countries, in the eighteenth century, the Grand Duchy of Lithuania had a poorly developed network of art agents and specialised art dealers. Therefore family ties and women’s mediation were crucial both in the hiring of artists and in the control of their work. Keywords: the Radvilas, female patronage, commissioning art, 18th century, network.

Straipsnyje analizuojama Radvilų laidotuvių iškilmių eiga ir proginės miesto ir bažnyčių erdvių transformacijos. Atskleidžiami svarbiausi vizualiniai renginių komponentai, laidotuvėse taikytų atvaizdų tipai. Jie gretinami su XVIII a. LDK didikų laidotuvių vizualinės retorikos tradicija. Vertinamas iškilmių aprašymuose numatytas reginio stebėtojo vaidmuo, jo vizualinio patyrimo svarba perteikiant ekspresyviąsias ir simbolines renginių reikšmes.RAKTAŽODŽIAI: Radvilos, laidotuvių ritualas, vizualioji kultūra, XVIII a., Lietuvos Didžioji Kunigaikštystė Įvadas LDK didikų laidotuvės buvo vieni iš ryškiausių, daugiausia dalyvių ir žiūrovų įtrau-kusių Naujųjų laikų ritualų. Kultūros istorijos ir antropologijos tyrimuose jau buvo pagrįsta su asmens mirtimi susietų ritualų reprezentatyvumo svarba 1 . Laidotuvių iškilmės, kaip laidojimo ritualų kulminacija, ne tik išreiškė santykį tarp mirusiojo ir bendruomenės, bet ir ženklino renginio dalyvių socialinį statusą, apibrėžė jų galios santykius. Taigi simbolizavo socialinę tvarką ir padėjo ją įtvirtinti. Iškilmių, kaip ir kitų ritualų, poveikis rėmėsi jų ekspresyviąja, simboline ir komunikacine galia 2 . Ją iš dalies lėmė renginio vizualumas, žiūrovų / dalyvių įtraukimas į ritualinį veiksmą, regimaisiais objektais, simboliais paženklintos erdvės, ritualinės aplinkos, patyrimas. XVIII a. LDK diduomenės laidotuvių reginiai jau buvo ne kartą nagrinėti, tačiau jų ekspresyviosios ir komunikacinės galios gvildentos dar fragmentiškai 3 . Tyrinėjant LDK laidotuvių iškilmių dekorą daugiausia dėmesio buvo skirta atvaizdų motyvams, įvardytiems spaudos tekstuose, apibendrinti 4 . Daug rašyta apie baroko iškilmėse taikytas emblemas, buvo cituojamos ar perfrazuojamos jų inskripcijos. Tokį laidotuvių reginių komentavimo būdą iš dalies paveikė XVIII a. iškilmių aprašymų retorika, kurioje emblemoms skirta nemažai vietos. Tačiau XVIII a. šaltiniuose numatytas ne tik emblemų skaitytojas ir atvaizdų motyvų atpažintojas. Aprašymuose implikuotas stebėtojo vizualinis patyrimas, į kurį šiame straipsnyje siekiama atkreipti dėmesį.1 Mirties ir laidotuvių ritualų problematikai skirta istoriografija yra labai gausi. Tarp knygų, kuriose aptariami mirties problematikos tyrimai, pažymėtina: Koslofsky, 2000. Taip pat minėtinos monografijos, skirtos mirties sampratai ir laidotuvių papročiams ATR ir jos dalyje -LDK (Chrościcki