Tadeusz Kuntze-Konicz was one of the most outstanding Polish painters of the 18th century working abroad. He was born on 20 April 1727 in Zielona Góra, and his artistic career was primarily associated with Rome, where he died on 8 May 1793. His artistic output includes numerous ecclesiastical paintings, decorative frescoes, genre scenes and works on mythological themes, which decorated churches, aristocratic residences and public institutions.

He arrived in Rome in 1747, thanks to the support of the Bishop of Plock, Andrzej Stanisław Załuski. He studied first at the French Academy under Ludovic Mazzanti and then at the famous Scuola del Nudo at the Academy of St Luke. His talent was quickly recognised, as evidenced by commissions for prestigious works. For the Wawel Cathedral in Kraków, he produced two paintings in 1754: 'The Martyrdom of St Adalbert' and 'St Casimir'. These works are excellent examples of the late Baroque Roman style, which was dominated by multi-figural compositions and dramatic chiaroscuro effects.

Kuntze, nicknamed 'Taddeo Polacco' in Italy, became famous in Rome as one of the most prolific artists of the Late Rococo period. His work included numerous altar paintings and frescoes for the churches of Rome and the Lazio region. Among others, he painted decorations for the church of Santa Caterina da Siena, where his monochrome angels on the vault show clear references to Baciccio's monumental works from Rome's Church of the Gesù. He also executed decorations for Rome's most important aristocratic families, such as the Borghese, Corsini and Rinuccini.

In the 1870s and 1880s, Kuntze created on commission for Duke Marcantonio IV Borghese. His decorative works, such as the frescoes in the Villa Borghese and Palazzo Borghese, show exceptional stylistic diversity: from Baroque allegorical scenes to classicist decorations inspired by antiquity. Of particular interest are paintings with mythological themes and genre scenes, such as 'The Singing Lesson' and 'The Doctor's Visit', which betray the influence of artists popular in 18th-century Rome such as Pietro Longhi and William Hogarth.

An important, though not fully explained, episode in Kuntze's life was his relationship with Spain. While there is no conclusive evidence of his stay at the Spanish court, it is certain that his work influenced the young Francisco Goya. Goya stayed in Rome between 1770 and 1771 and lived with Kuntze, which may have had a significant influence on his artistic formation. Furthermore, Kuntze's family later became associated with the Spanish Madrazo artistic dynasty - his daughter Elisabetta married the painter José Madrazo, which further demonstrates the artist's strong Spanish connections.

Tadeusz Kuntze-Konicz's work, although not fully appreciated, remains an important element of European Rococo and early Classical art. His works, found in the collections of Roman and Polish museums, are testimony to the significant position he held in the artistic milieu of eighteenth-century Rome, then one of the most important artistic capitals of Europe.a', c. 1770, fresco.

Oil paintings:

Rome

Church of San Stanislao dei Polacchi

"Resurrection of the Petrine," pre-1754, oil on canvas

Castel Massimo (Frosinone)

Church of San Pietro

"St. Joseph of Capistrano with St. Augustine and St. Bishop", ca. 1770, oil on canvas

Krakow / Rome (replicas)

"Christ before Pilate", ca. 1770-1780, oil on canvas

State Art Collections at the Wawel Castle, Cracow

Collection of Fabrizio Lemme, Rome

Soriano nel Cimino (Viterbo)

Church of the Santissima Trinità

"The Holy Trinity and Saint Monica", circa 1776, oil on canvas (two paintings)

Veroli (Frosinone)

Cathedral (Duomo di Sant'Andrea Apostolo)

"Martyrdom of Saint Bartholomew", after 1765, oil on canvas

"Saint John with his disciples", after 1765, oil on canvas

Naples

Banca Sannitica

"Visit of a doctor" and "Music teacher", c. 1784, oil on canvas

Rome

Villa Borghese

"Singing lesson" and 7 medallions of genre scenes ("The bagpiper and the ham-boy", "Polish players", "The mandolin player and the singer", "Catharine player and boy with drum", "Fiddler and harpist", "Cymbalist and boy with basset", "Merry concert"), 1784, oil on canvas and oil on wood

'Views of Roman Ruins', 1784, oil on wood

Religious and decorative frescoes:

Frascati (near Rome)

Church of the Gesù (Capella della Madonna Rifugio dei Peccatori)

"Adoration of the Shepherds", 1773

"Presentation of the Child in the Temple", 1773

"Birth of the Blessed Virgin Mary, 1775

"Dormition of the Blessed Virgin Mary, 1775

Rome

Church of Santa Caterina dei Senesi

"Symbols of the Eucharist carried by angels", 1775

Church of S. Lucia della Tinta

"Our Lady with St Lucia", circa 1781

Palazzo Rinuccini (Palazzo Bonaparte)

Decorative frescoes, before 1793

Palazzo Borghese and Villa Borghese

Decorative frescoes, circa 1773

Soriano nel Cimino (Viterbo)

Church of the Santissima Trinità

"Apotheosis of St Augustine" (vault), c. 1776

Genazzano (near Palestrina)

Church of Santa Maria del Buon Consiglio

"Miraculous Multiplication of Bread and Fish", 1777, fresco (3.5 x 4 m)

Ariccia (near Albano)

Casino Stazi

Cycle of mythological frescoes ("Acts of Hippolytus"), ca. 1770-1780

Cave

Church of Santo Stefano

"St Ambrose baptising St Augustine", c. 1770 (vault)

Tempera technique:

Frascati (near Rome)

Villa of Cardinal Stuart

Three biblical scenes:
"Angels in hospitality with Abraham", "Rebecca at the well", "Aaron turning the staff into a serpent", c. 1777

Madrid

Biblioteca Nacional

Three scenes from the "Iliad", circa 1777