Lietuvos istorijos institutas

The article discusses how the changes enshrined in the Constitution of May 3, 1791 were depicted in art. The main attention is focused on the drawing by Franciszek Smuglewicz (1745–1807), currently stored in the National Museum in Warsaw, which has not yet come to the attention of art historians. The article analyzes the iconography of the drawing and presents the context of its creation. It puts forward the hypothesis that Smuglewicz depicted the apotheosis of the Constitution of May 3 in the work and examines the means by which the artist revealed the most important features of the “gentle” revolution.

The 3 May 1791 Constitution, adopted by the Sejm of the Commonwealth of Both Nations, was welcomed by a significant part of society, therefore the year of the ‘soft revolution’ passed in an atmosphere of elation and patriotism. However, there was some opposition within the country and the geopolitical situation was unfavourable to the Republic, so it was very important for the King and the reformist camp to demonstrate unity and secure the widest possible support for their programme. Celebrations were used as one of their means of action. The article discusses the visual occasional works for the celebrations of the adoption of the Constitution. The aim is to analyse what values were actualized and what images were created in the epoch of the ‚gentle revolution‘. The study is based on the descriptions of festivals published in the periodical press and in occasional works. The importance of the text used in the decorations of such festivals was highlighted: various inscriptions amplified the imagery and at the same time served as a foundation for these images. In addition, the text in the descriptions of those festivals had a double power: in addition to the text used in the decorations, there was also the text of the person describing the festivities, in which they gave a verbal interpretation of the image.

The article discusses the system of children’s education presented in Proiekt nieuskuteczniony prozą i wierszem (1788; The Unfulfilled Project in Prose and Verse) by Wincenty Ignacy Marewicz (1755–1822). The article examines how the writer, who came from the petty nobility of the Grand Duchy of Lithuania, adapted the new ideas of pedagogy that were spreading in Europe in the second half of the eighteenth century. An attempt is made to discern what was typical in W. I. Marewicz’s work and what individual nuances were given to it by a particular personality. In the work discussed, the author’s pedagogical views are presented in the chapter “Systema Edukacyi dla Płci oboiey” (A System of Education for Both Sexes). The writer sets out his system like a narrative to his future wife about

The article is dedicated to present, still unexplored in Lithuanian historiography, works of the late eighteenth-century writer Wincenty Ignacy Marewicz and to discuss his reflections on his living times. Marewicz (1755–1822) was a poor nobleman, born in Trakai powiat and, having studied there, he later spent in Vilnius a significant portion of his life, trying to survive off his literary activities. He dedicated his works to the nobles, hoping to receive their protection and support, which he also published and distributed on his own. Creative legacy of Marewicz is ample and omnidirectional, however his contemporaries considered him a secondary writer and even graphomaniac, thus he was forgotten by the following generations and was little researched. In spite of any doubts regarding literary skills of Marewicz, we can notice that his writings, often very personal, may be interesting to a historian because of the reflections about himself and his living times. Being avid supporter of state reforms and the Four-Year Sejm, Marewicz in the last years of the eighteenth century wrote pieces that were filled with patriotic spirit, full of contemplations on the destiny of his homeland and of advice to the powerful regarding governance of the country. Writings of the litterateur were close to sentimentalism, with the accentuated desire for authenticity and naturalness. Marewicz promoted ideas of egalitarianism and solidarity of society, criticising the predominant types of relationships. The article discusses works created by the litterateur in the last decade of the century, such as drama, political poetry, biographical narratives dedicated to the nobility and decorations designed for the anniversary of the May 3rd Constitution.

The article is dedicated to discussion about the opportunities artists had in the eighteenth-century Grand Duchy of Lithuania, what factors were defining artist’s career and his valuation and how it changed along with social and cultural shifts in the country. Historical sources retain names of around 700 artists that worked in the eighteenth-century Grand Duchy of Lithuania. The artists belonged to a peculiar inter-estate stratum with significant differences in education, social and economic situation. Majority of artists lived and worked in towns, with smaller part working in the manors of noblemen under continuous service or temporary contracts, and also there was a small number of artist friars who did jobs in various convents of the country. Social and economic situation of artists in towns was similar to that of craftsmen, yet artists working in the manors of aristocrats usually had status of the middle-rank manor officials. Still, eighteenth-century artists were able to achieve higher levels of career than most of craftsmen because of the rank of their patrons. The work of artists was in demand mostly in higher levels of society and that determined better pay, sponsoring of studies and other kind of encouragement. Career opportunities for artists were usually defined by their reputation and education. The top level of the career was occupied by the status of royal court artist, which was a guarantee of high qualification. Noblemen of the Grand Duchy of Lithuania and Church hierarchy, when trying to realize important projects sought to engage the royal masters. Artists that studied abroad were also in demand. Noblemen of the Grand Duchy of Lithuania, because of the deficit of good artists, tried to keep those artists that worked long-term in their manors. Career of a court artist guaranteed steady payment and legal protection, however artists not always desired long-term service because of the significant limitations on their life and work. Difficulties in searching for a decent master encouraged noblemen to keep artists in their manors while teaching arts to local kids. The need in arts for vocation or special gifts is demonstrated by the fact that only a small part of children selected by the noblemen were able to learn painting. Apart from the ties to influential customers, to the career of an artist were important links to requested architects, also familial links to the ruling elites of towns and important officials of the courts. In the second half of the eighteenth century, especially at the end of the century, attitude towards artistic occupation has incurred significant changes. Social status of famous artists, large compensations and ennoblement affected attitudes towards arts among both the society and the artists, and promoted its prestige. Rise of prestige of the profession was aided by the fact that society started appreciating more of the local artists (artists-fellow countrymen). They have begun to be mentioned in various contexts among the most deserving of the nation.