Portrait of Stanisław August Poniatowski

Stanislaw August Poniatowski, ascending the Polish throne in 1764, took care of the artistic setting of the event. An important element for the new ruler was an outfit made according to his idea, in line with Western European fashion. He put it on after the solemn ceremony in the Warsaw cathedral. Instead of the Polish robe and zhupan, the King appeared in an outfit considered Spanish, which aroused widespread indignation. It was three-piece, consisting of a caftan (habit), a waistcoat and short trousers (culotte). Stanisław August never wore the Polish costume, thereby manifesting his modern views and reforming intentions. That is how the ruler was portrayed by painters employed at his court.

Bacciarelli painted his best representative portrait. The artist referred to the traditional 17th-century image of Louis XIV. The figure's idealisation and the almost dance-like movement immortalised by the painter flattered the model's vanity, enhancing the elegance of the composition. According to the King's wishes, Bacciarelli beautified the ruler, who was sensitive about himself and wrote in his diary: 'I would be happy with my figure if I were an inch taller... if I had a shapelier leg, a less eagle nose, less prominent hips, better eyesight and more visible teeth'. The monarch's monumentality, solemnity and majesty are symbolised by the column and draped curtain in the background of the painting. The subtle multi-colour composition emphasises the materiality of individual objects, the shining of costly fabrics and the gold insignia of monarchical power. The depiction of regalia around the ruler may have a symbolic meaning, referring to the idea of the citizen-king. The coronation portrait was Bacciarelli's great success, as he became the court painter, was granted nobility, and his 'painting chamber', the studio at the Royal Castle, became a kind of art school for educating young painters. The artist repeated many times the composition of the portrait. His replica, regarded as one of the earliest, is in the collection of the National Museum in Lublin.

Magdalena Norkowska