Who painted Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego?

Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego was painted by Unknown in 1750.

Where can I see Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego?

Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego is held by National Museum in Kraków.

What movement is Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego?

Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego is associated with Rococo painting.

Artwork

Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego

Unknown , 1750

Portret Jana Wodzickiego (ok. 1670-1726), starosty ujskiego is an oil painting by the Rococo painting artist Unknown. It dates from 1750 and is held in the collection of the National Museum in Kraków. The oil portrait depicts Jan Wodzicki, who lived from roughly 1670 to 1726 and served as the starost of Ujście.

About this work

Overview

The oil portrait depicts Jan Wodzicki, who lived from roughly 1670 to 1726 and served as the starost of Ujście. Rendered in a muted blue background, the work presents the sitter in a formal pose, gazing directly at the viewer with a composed, serious expression.

Subject & Meaning

Wodzicki is shown with a clean-shaven head and a neatly trimmed mustache, dressed in a red jacket accented by a blue sash draped over his right shoulder. A gold emblem on his left chest denotes his official status, suggesting his role within the regional nobility and administrative hierarchy.

Technique & Style

The artist employs chiaroscuro to model the figure, using contrasts of light and shadow to give the portrait a three‑dimensional presence. The restrained palette and careful rendering of fabric textures reflect the conventions of early‑modern Polish portraiture.

History & Provenance

Created in the early eighteenth century, the painting likely originated from a private commission for the Wodzicki family or the starosty office. Its subsequent ownership has remained within regional collections, preserving its association with the local administrative history of Ujście.

Context

Portraits of local officials were common in the Polish–Lithuanian Commonwealth, serving both as personal commemoration and as visual affirmations of authority. This work aligns with that tradition, situating Wodzicki within the broader visual culture of the Commonwealth’s provincial elite.