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Strona Muzeum Narodowego w Lublinie > Katalog zbiorów > Portrait of Jan Fryderyk Sapieha

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Na błękitnym, złamanym beżem, gładkim tle, z fragmentem kolumny po lewej stronie - przedstawiony wizerunek mężczyzny w starszym wieku, w typie sarmackim. Postać ukazana w ujęciu do pasa, ujęta w zwrocie 3/4 prawą stroną do widza, z głową lekko zwróconą w lewo. W prawej ręce, wspartej na widocznym we fragmencie stole, trzyma pieczęć kanclerską, odwróconą stemplem do widza. Portretowany - w zbroi typu zachodnioeuropejskiego, nałożonej a złocisty żupan, z zarzuconym na prawe ramię, czerwonym aksamitnym płaszczem, podbitym gronostajami. Na płaszczu, po prawej stronie haftowana Gwiazda Orderu Orła Białego. Pod nim widoczna jest również błękitna wstęga tegoż orderu. Pod szyją stojacy kołnierzyk białej koszuli spięty zapinką. Twarz idealizowana, pociągła, rumiana, długi nos, podkręcone wąsy i siwe podgolone włosy.

unknown (painter), Portrait of Jan Fryderyk Sapieha

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Measures:	Height: 61,5 cm, Width: 82,5 cm
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Inventory number:	S/Mal/1302/ML
Location:	The National Museum in Lublin (Lublin Castle), ul. Zamkowa 9, Lublin

Popularizing note

In the centuries-long history of the Sapieha family, its representatives were constantly involved in political life. Jan Fryderyk Sapieha, also active in other fields, endeavoured in various ways to restore the prestige of the family. Initially, he was a supporter of Stanisław Leszczyński’s royal power. Seeing the threat of prolonged, devastating internal fighting, he finally supported Augustus II the Strong and remained in the service of the Wettin dynasty almost all his life. From 1716, he held the post of Castellan of Troki, and then, from 1729, Marshal of the Lithuanian Tribunal. His loyalty to the kings from the Saxon dynasty earned him the coveted office of Grand Chancellor of Lithuania in 1735.The artists of his later portraits emphasise this high dignity. The Lublin portrait shows Jan Fryderyk as chancellor. The high artistically valuable work combines Sarmatian realism with West-European dynamic composition, attention to drawing and free expanse of colour. Sapieha is dressed in armour and a red coat lined with ermine, which emphasises the representative character of the image. It marks social status, present in the painting, symbolising strength, including moral strength, and knightly tenacity. Sapieha was valued as an erudite and eloquent speaker, possessing literary rather than military talents. He was the author of several works, including The Polish and Latin Zest, issued by the printing house of the Lublin Jesuits. He published the turbulent, yet not supported by sources, history of the peregrination of the miraculous painting of Our Lady of Kodeń. He undertook many activities to raise the status of the Marian Sanctuary in Kodeń, the town where he had his main residence. He was a bibliophile, interested in history and genealogy, including the history of his own family. He undertook numerous artistic and propagandistic activities. On his initiative, a panneau with images of ancestors was created in the Church in Kodeń, and now it is a unique collection of portraits of male family representatives. Among the numerous artists employed at the court of Jan Fryderyk Sapieha was Szymon Czechowicz and Augustyn Mirys. One of those outstanding painters may have created the Lublin portrait. Unfortunately, the lack of a signature leaves open the question of authorship.Magdalena Norkowska