POLISH PAINTERS of the Turn of 19Th and 20Th CENTURIES POLISH
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Coins issued in 2006 Coins issued in 2006 National Bank of Poland CoinsCoins POLISH PAINTERS of the Turn of 19th and 20th CENTURIES face value 20 z∏ face value 2 z∏ metal 925/1000 Ag and metal CuAl5Zn5Sn1 alloy paints: red, yellow, finish standard green and blue diameter 27.00 mm finish proof weight 8.15 g dimensions width: 28.00 mm mintage 1,000,000 pcs length: 40.00 mm; weight 28.28 g Obverse: An image of the Eagle established as the State mintage 66,000 pcs Emblem of the Republic of Poland. On the left side, a palette and two paintbrushes. At the bottom, an inscription, 2 Z¸, at the top, a semicircular inscription, RZECZPOSPOLITA POLSKA Obverse: A stylised image of fragments of Aleksander (Republic of Poland) and a notation of the year of issue, 2006. Gierymski’s painting "Jewess with Lemons" of 1881. At the The Mint’s mark,––m , under the Eagle’s left leg. top, on the right side, an image of the Eagle established as w the State Emblem of the Republic of Poland. Around the Reverse: An effigy of Aleksander Gierymski from the painting Eagle, an inscription, RZECZPOSPOLITA POLSKA, a notation of „Self-Portrait with a Palette” of 1891-1892. On the right, the year of issue, 2006 and an inscription, 20 z∏. The Mint’s a stylised image of a fragment of the painting „PowiÊle” of mark,––m , under the Eagle’s left leg. 1883. At the bottom, a semicircular inscription, ALEKSANDER w GIERYMSKI 1850-1901. Reverse: An effigy of Aleksander Gierymski from the painting "Self-Portrait with a Palette" of 1891-1892. On the right side, On the edge: An inscription, NBP, eight times repeated, every a stylised image of a fragment of the painting "Feast of second one inverted by 180 degrees, separated by stars. Trumpets" of 1890. On the left side, a vertical inscription, ALEKSANDER/GIERYMSKI/1850-1901. In the left bottom corner, Obverse designer: Ewa Tyc-Karpiƒska a palette and three paintbrushes. On the palette, paints: red, Reverse designer: Roussanka Nowakowska yellow, green and blue. Coin designer: Roussanka Nowakowska On 5 December 2006, the National synthesis, focusing on colour and Bank of Poland puts into circulation light. Unwilling to compromise, he coins representing Aleksander was stubbornly creating his own Gierymski, with face value of: artistic vision, being his own the most severe critic. Already during • 20 z∏ – struck in proof finish in silver, Gierymski’s life, in 1890, Wiktor • 2 z∏ – struck in standard finish in Gomulicki wrote about him: Nordic Gold alloy. „Whether he is by the Vistula, Tiber or Isar rivers, he is always himself; and Aleksander Gierymski was one of the he sheds a ray of his talent and his greatest Polish painters of the 19th soul on everything he touches. (...) He century. His paintings represent never makes the smallest concessions DECORUM a personal journey towards for the sake of common tastes of the Coins struck by the Mint of Poland plc. in Warsaw. impressionism and the avant-garde mob and seems to seek as little Design: trends the representatives of which applause, as little he seeks profit Printed by NBP Printing Office attempted to create a new painting from his paintings. He creates for the Coins issued in 2006 Coins issued in 2006 Coins issued in 2006 mere pleasure of creation”. Eligiusz Niewiadomski described his for lighting he produces his amazing effects; the lighting is the Gomulicki, who visited Gierymski’s studio in Munich, wrote: „The life as a „terrible, long drama, a drama arising from the conflict „idea” of his paintings”. atelier appeared to be an alchemist’s laboratory, all hung with between the individual who cannot and who does not want to With both The Bower and The Siesta – painted at the same time carton spotlights plastered with golden and silver paper, used adapt to the society in which he grows out, and the society (two versions of the theme), where a group of Renaissance for reminding diverse light combinations observed in nature”. In itself”. patricians was presented, Gierymski closed the period when he Munich, Gierymski painted e. g. Wittelsbachplatz in Munich at Aleksander Gierymski was born in Warsaw on 30 January 1850. were deliberately referring to historical periods. Night, awarded a 2nd class gold medal at the 1890 International His artistic talent was accompanied by great intelligence Tired with solitary work in Rome, he returned to Warsaw in 1879 Exhibition of Fine Arts in Munich and Max-Josephplatz in Munich supported by thorough education. After he finished State High and stayed there for four years. At the end of this stay he at Night purchased for the New Pinakothek collections, or School No 3, for a few months Gierymski attended painting intensified his contacts with a group of artists and journalists A Bridge in Munich. In Paris, he painted Paris Opera House at courses under Rafa∏ Hadziewicz. To continue his artistic associated with „W´drowiec” („The Wanderer”) magazine, who Night (1891), Louvre at Night (1892) and Evening by the Seine education, in May 1868 he left for Munich where his brother favoured a realistic presentation of the reality. Gierymski (1893), paintings considered masterpieces of Polish art. He Maksymilian, a painter of an already established artistic name, participated in edition works, created illustrations, prepared the described them in the following words: „Night motif, opera resided for several years. Maksymilian introduced Aleksander magazine covers for 1884-1886 editions. His paintings reflected house and electricity. How difficult it is”. into the circles of Polish artists living in Munich. In 1870 they at that time genre scenes connected with the city. After In 1893 Gierymski came to Krakow, probably in connection with visited Warsaw; a year later they were in Venice and Verona; in Gierymski’s death, Eligiusz Niewiadomski wrote: „In the Henryk Rodakowski’s offer Gierymski to take over the chair 1873 they travelled to Meran and Bad Reichenhall health previous period, our artists painted mainly horses with or painting at the Academy of Fine Arts. Rodakowski’s death and resorts in Tyrol and Italy. Aleksander did not part with his ill without riders, images of the saints or scenes from Ancient Julian Fa∏at’s appointment for the chair of Academy chancellor brother until Maksymilian’s death in 1874. Greece of Ancient Rome. No one but Gierymski, a true child of shattered those plans. The embittered artist returned to Italy During his studies at the Academy of Fine Arts in Munich, Warsaw, first discovered the original nature of Polish towns and and to Munich in 1894. During his stay in Krakow, Gierymski Aleksander received an award for the best composition of suburbs and artistic interest in them. PowiÊle, city warrens, painted his last composition with figurative representation, i. e. a painting on a given subject Scene of Judgement in „The crooked and lumpy Jewish houses, old, crumbling, Peasant Coffin, where he fused the discipline of drawing and Merchant of Venice”, for which he plumbed the mysteries of the pole-supported fences, all that weird, accidental architecture of the form with sensed impressions of colour and light. 15th century Venetian art, since he wanted the painting to convey poor districts of a Polish city, so original in its poverty, all this He spent his last years between Italy and Paris. In his letter to the true spirit of the age of Shakespeare’s drama. In 1873 world that is dying today, all this, Polish art owes to Gierymski”. Antoni Sygietyƒski, Gierymski wrote: „(...) the longer I was out Gierymski was in Rome; it was at that time that he started He painted at the time a number of important pictures, of Poland, the weaker, the more miserable I felt: since some working on his two paintings: A Roman Inn and A Game of Mora. preceded by numerous preparatory studies, e. g. A Jewess with time now, I’ve been in a more fortunate position, yet this results Before he decided on the final version of his paintings, he made Oranges (1880-1881, lost during the II world war), A Jewess solely from my changing of artistic views. This is the effect of numerous drafts painted from nature, took pictures of the with Lemons (1881), The Old Town Gate (1883). In his Paris. How healthy for me is the Paris air. For me, a man of adequately dressed and positioned models; those pictures were subsequent „Warsaw” paintings people become the staffage anxious, nervous nature, Paris is appeasing... It is important to later used for finishing the composition. These paintings, for landscape, they do not attract the viewer’s attention, they work among those whom one considers the bravest, beyond presented in Munich (1874), Warsaw and St. Petersburg (1875) are only one of elements of a city or riverbank setting. These whom either nothing, or nearly nothing, exists: one feels that and in Philadelphia (1876), established Gierymski’s artistic mainly include studies of variable arrangements of colour and one competes with the strongest and this brings pleasure and position. Critics, in particular Polish ones, however questioned light at sunset or dusk. Such an intimate character can be peace (...)”. A lonely, suffering-driven artist painted at that time the plebeian themes undertaken by the artist, emphasised his observed with respect to PowiÊle, A River Port in the Solec mainly landscapes, architecture without people. In 1899 he talent and technical skills of painter. During his few months stay District of Warsaw and the atmospheric painting representing created the tragic Self-Portrait. He died in a Roman asylum in Warsaw, Gierymski renewed acquaintance with Stanis∏aw Jewish prayers, i.