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Niemal ca\u0142e tw\u00f3rcze \u017cycie sp\u0119dzi\u0142 we Francji, gdzie musia\u0142 wyjecha\u0107 po upadku powstania styczniowego w ucieczce przed represjami carskimi. Tam uzyska\u0142 mo\u017cliwo\u015b\u0107 kontynuacji studi\u00f3w rozpocz\u0119tych w warszawskiej Szkole Sztuk Pi\u0119knych. W Pary\u017cu kszta\u0142ci\u0142 si\u0119 m.in. w prywatnej pracowni Leona Cognieta. Obraca\u0142 si\u0119 w kr\u0119gach polskiej emigracji, zw\u0142aszcza Hotelu Lambert, przyja\u017ani\u0105c si\u0119 m.in. z Adamem Mickiewiczem i Fryderykiem Chopinem. Opr\u00f3cz pejza\u017cy i kompozycji o charakterze symbolicznym w \u003Cem\u003Eoeuvre\u003C\/em\u003E Kwiatkowskiego dominuj\u0105 portrety. Artysta uwieczni\u0142 wielu wybitnych przedstawicieli \u00f3wczesnej polskiej elity politycznej i kulturalnej, m.in. Mickiewicza, Chopina, Adama Czartoryskiego, Marcelin\u0119 Czartorysk\u0105, Jana Dzia\u0142y\u0144skiego oraz Delfin\u0119 Potock\u0105.\u003C\/p\u003E\r\n\r\n\u003Cp\u003EW\u015br\u00f3d tych dzie\u0142 znalaz\u0142 si\u0119 wizerunek zaprzyja\u017anionego z Kwiatkowskim poety i rze\u017abiarza Teofila Lenartowicza (1822\u20131893).\u00a0Uj\u0119ty w form\u0119 owalu portret przedstawia popiersie dojrza\u0142ego m\u0119\u017cczyzny o szczup\u0142ej, delikatnej posturze. Powsta\u0142 prawdopodobnie w czasie pobytu Lenartowicza w Pary\u017cu. Poeta z powag\u0105 wpatruje si\u0119 w widza. Rozja\u015bniona \u015bwiat\u0142em szczup\u0142a, poci\u0105g\u0142a twarz o piwnych oczach, wydatnym nosie i pe\u0142nych ustach okolona jest kr\u00f3tk\u0105 brod\u0105. Zaczesane do ty\u0142u br\u0105zowe w\u0142osy ods\u0142aniaj\u0105 wysokie, \u0142ysiej\u0105ce czo\u0142o. Model odziany jest w czarny surdut, br\u0105zow\u0105 kamizelk\u0119 i czarny krawat. Zaw\u0119\u017cona tonacja barwna obrazu zdominowana zosta\u0142a przez br\u0105zy, czer\u0144 oraz oliwkowozielony koloryt t\u0142a.\u003C\/p\u003E\r\n\r\n\u003Cp\u003EAleksandra Krypczyk-De Barra\u003C\/p\u003E","author":"Krypczyk-De Barra Aleksandra","copyright":null,"event":null,"position":null}],"bibliography":[{"id":21704,"text":"\u003Cspan class=\u0022bibliography-title\u0022\u003EIllustrowany katalog obraz\u00f3w i rze\u017ab w. XIX i XX\u003C\/span\u003E, Wyd. 2 rozszerz., oprac. na podst. wyd. 1, rozdz.: poz. 73, Krak\u00f3w: Muzeum Narodowe w Krakowie, 1905, s. 29.","permalink":null},{"id":20480,"text":"\u003Cspan class=\u0022bibliography-title\u0022\u003EKatalog tymczasowy zabytk\u00f3w sztuki retrospektywnej. Wiek XIX\u003C\/span\u003E, rozdz.: poz. 73, Krak\u00f3w: Muzeum Narodowe w Krakowie, 1906, s. 3.","permalink":null},{"id":20672,"text":"\u003Cspan class=\u0022bibliography-title\u0022\u003EKatalog Muzeum Narodowego w Krakowie\u003C\/span\u003E, rozdz.: poz.  917, Krak\u00f3w: Muzeum Narodowe w Krakowie, 1907, s. 56.","permalink":null},{"id":18835,"text":"\u003Cspan class=\u0022bibliography-title\u0022\u003EIllustrowany katalog obraz\u00f3w i rze\u017ab XIX wieku\u003C\/span\u003E, rozdz.: nr 73, Krak\u00f3w: Muzeum Narodowe w Krakowie, 1902, s. 27.","permalink":null},{"id":20599,"text":"Halina Blak, Barbara Ma\u0142kiewicz, El\u017cbieta Wojta\u0142owa, \u003Cspan class=\u0022bibliography-title\u0022\u003ENowoczesne malarstwo polskie. Katalog zbior\u00f3w. 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