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Children-Hunters

Jerzy Eleuter Szymonowicz Siemiginowski

  • Children-Hunters 2
  • Children-Hunters 3
Basic information
ID
Ж-2218
Author
Jerzy Eleuter Szymonowicz Siemiginowski
Name
Children-Hunters
Date of creation
17th c.
Technique
oil painting
Material
canvas oil
Dimensions (height x width, cm)
112 x 192
Additionally
Type
painting
Genre
narrative art
Information about author
Author
Jerzy Eleuter Szymonowicz Siemiginowski
Artist's lifetime
1660–1711
Country
Biography
Jerzy Eleuter Szymonowicz Siemiginowski (1660–1711) – painter and engraver. He was born in Lviv. His family lived on Ruska Street. His father was a carver and draftsman and carried out commissions in Zhovkva for Jan III Sobieski. He studied in Paris and Rome (at the Academy of San Luca). His artistic activity was very diverse – he made wall paintings, portraits, altar compositions, plafond paintings, and household paintings. The master also created various kinds of graphic art and designs for architecture, sculpture and goldsmithing. Szymonowicz Siemiginowski left a large legacy, a significant part of which has yet to be clarified.
Object description
The art historian Volodymyr Ovsiichuk attributes the work "Children-Hunters" to Jerzy Eleuter Szymonowicz Siemiginowski, the artist from Zhovkva, particularly the early period of his work. The event in the painting takes place at the edge of the forest at the foot of a tree. Five children are depicted in a tense situation: two of them are restraining a hunting dog, which is reaching for a duck held by two other children. They are depicted in complex angles and form a dynamic group. A fifth boy blows a hunting horn. One of the boys holding the duck is nude, with a wreath of flowers on his head, while the other is dressed in a red drapery tied in a large knot around his waist. The work focuses on the subject composition. Against the mostly dark background, the figures in the foreground, depicted in ochre-white tones, appear illuminated. The canvas is cut on all sides, mostly on a top, where the cutting line is uneven. From this we can conclude that the work was initially even larger, perhaps close to the square, judging from the artist's drive towards spatial solutions in dynamic and complete baroque plasticity of the compositions.
Legal regulation
Borys Voznytskyi Lviv National Art Gallery

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