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He Past in Pre-Raphaelite and Young Poland's SHORT ARTICLEST he Past ART NOUVEAU in Pre-Raphaelite and Young Poland's Art Piotr Kopszak Poland William Holman Hunt, Rienzi, 1849. Pre-Raphaelite painting is regarded as one of (Young Poland) generation go deeper. One of the visual sources of the ubiquitous Art Nou- the less obvious similarities is their treatment veau motif, the sinuous line. Pre-Raphaelite of historical subjects. It would be perhaps an painters indulged in ostentatious depiction of exaggeration to maintain that the Pre-Rapha- flamboyant hairdresses in their female port- elite Brotherhood developed a distinctive gen- raits. It would not be too difficult to notice re of historical painting. Some of its members their affinity with fin-de-siècle European pain- were still closely attached to tenets of acade- ting, Polish painting included, as for instance mic painting1 . in one of the most popular paintings by W³a- dys³aw Œlewiñski, a friend of Gauguin who Already in the early years of its existence, took up painting when he arrived in Paris ha- paintings that depart from academic ideals as ving no plans to embark on artistic career. The codified in Britain by Joshua Reynolds were sinuous line, which on the first glance may created. This attitude was certainly not acci- seem an almost abstract form, was in fact dental2 . loaded with meanings, as was often the case with works of art created around 1900. The first symptoms of change can already be found in Rienzi (1849) by William Holman Connections between the art of the Pre- Hunt. The very choice of subject, the moment Raphaelites and the artists of the M³oda Polska of intense emotion caused by the death of 166 starapolska strikingly Uncommon Culture The influence of French symbolism, with its predilection for nuance and indirect suggestion, was the reason for the disappearance of traditional historic scenes. Their place was taken by symbolic compositions that dealt with Polish history even more successfully. planned. Morris also did the exquisite floral decoration of the ceiling. Mallory's account was probably a revelation to Morris due to its realism and liveliness, which left its mark in Morris's poetry from that period. His poem King Arthur's Tomb represents the confused thought processes of both Lancelot and the narrator, thus bridging the gap between the historical events and modern times4 . Marked emphasis on feelings and inner life can already be noticed in the depiction of scenes from more recent history such as in the pain- tings by Millais A Huguenot on St. Bartholomew's Day refusing to shield himself from danger by wearing the Roman Catholic badge (1851-2), The Proscribed John Everett Millais, Royalist (1851), or The Escape of a Heretic 1559 A Huguenot on (1857). Historical subjects with religious mes- St. Bartholomew's Day sages were obviously very important to Millais. refusing to shield himself However, here again the tangled emotions and from danger fears of depicted characters take precedence. by wearing the Another example of representation of human Roman Catholic badge, emotions in liminal situations may be found in 1851-2 the painting by William Holman Hunt A conver- ted British Family sheltering a Christian Missionary Rienzi's brother, is strikingly unusual although from the Persecution of the Druids. still acceptable from the point of view of aca- demic tradition, and the rendering of the sub- At the risk of underestimating other impor- ject generally abides by academic rules. tant facets of Pre-Raphaelite art, one may say that one of their greatest achievements lies An important event in the history of the Pre- exactly in the convincing expression of human Raphaelite Brotherhood was their teamwork emotions and emotional relationships of the on the commission of murals for the Oxford people displayed in their pictures. In 2009, an Union's Debating Hall. The idea of choosing exhibition Symbolism in Poland and Britain was Thomas Mallory's Morte d'Arthur was concei- 3 organized at the Tate Britain. It gave a unique ved by Rossetti in 1857 . opportunity to see the paintings by the most important Young Poland artists Jacek Mal- Rossetti decided to depict Sir Lancelot prevented czewski and Józef Mehoffer in the same room by his Sin from entering the Chapel of the San Grail. with Pre-Raphaelite paintings by Dante Gab- Hughes painted The Death of Arthur, Burne- riel Rossetti and Edward Burne-Jones, and Jones did Nimue luring Merlin to his Death, and thus to better understand their affinity. William Morris painted Sir Palomydes's Jealousy of Sir Tristram. Other compositions were also planned 167 Uncommon Culture SHORT ARTICLES ART NOUVEAU Stanis³aw Wyspiañski, Casimirus the Great Design for a stained-glass window in the Wawel cathedral, 1900-1902 A similarity to Pre-Raphaelite works can be noticed already in the earlier works of Leon Wyczó³kowski. In 1877, he executed a first version of Maryna Mniszchówna Fleeing the Chase. The painting was so successful that he painted a different version of it in 1882. Wyczó³kowski was famous for experimenting with different artistic ideas and changing them often. He was also one of the earliest and most successful Polish artists to use Impressionist technique. The paintings of Maryna Mnisz- chówna herald the imminent symbolist move- ment, however. Wyczó³kowski focuses on the depiction of emotions of the Polish wife of Tsar False Dmitri I, fleeing Russian troops with her baby. In the first version there is also an interesting parallel to the art of Burne-Jones in the use of tangled bushes. Alina, another pain- ting by Wyczó³kowski depicting a protagonist of the play Balladyna by Juliusz S³owacki, is re- miniscent of Ophelia by Millais5 - though Wy- czó³kowski's use of the motif of tangled bu- shes again might be a trace of inspiration by Burne-Jones. Use of a subject from Juliusz S³owacki's drama is a clear symptom of neo-romanticism prevai- ling in Polish culture around 1900, as is the reference to The Works of Ossian in his painting Petrified Druid (1892-94)6 . This painting is alrea- dy characteristic of the treatment of historical subject matter by Young Poland artists. Poetic vision took precedence in their works over the clarity of the message. The influence of French symbolism, with its predilection for nuance and indirect suggestion, was the reason for the disappearance of traditional historic scenes. Their place was taken by symbolic compositions that dealt with Polish history even more successfully. 168 Uncommon Culture Leon Wyczó³kowski, Maryna Mniszchówna Fleeing the Chase 1877 169 Uncommon Culture SHORT ARTICLES ART NOUVEAU Leon Wyczó³kowski, Sarcophagus of Queen Jadwiga, 1898 It is necessary to remind the reader that the quisite sculpture-like bodies and perfect play comparison of Pre-Raphaelite and Young Po- of light, probably does not have a soul”9 . Pre- land painting is not a novel idea. Indeed, alrea- eminence of emotion as the most important dy in 1902 Ignacy Matuszewski proposed quality of art, and emotional response as the a vast parallel connecting poetry of Juliusz S³o- most important objective of art, are thus wacki, Renaissance art, Pre-Raphaelite pain- proclaimed. ting, and works by Young Poland and modern French artists7 . According to Matuszewski, the This was perhaps the most important reason element connecting all these rather disparate why formulas of academic historical painting artistic efforts was the “mood”8 . It is this qual- had become largely obsolete by the end of the ity that prompted him to consider paintings by 19th century. It would not be too difficult to Leon Wyczó³kowski from the series showing extend this list with other works by Young Po- sarcophagi of Polish kings in the Wawel ca- land artists who exemplify this novel approach thedral together with works by Burne-Jones to history in their art. Let us conclude it for and Rossetti. Although Matuszewski does not now with the most important one - the series dwell long on Wyczó³kowski's paintings, in the of designs for stained glass windows for the second passage, where he quotes his works, he Wawel Cathedral by Stanis³aw Wyspiañski. His gives a hint that there may be more in them visions of resurrected bodies of Polish kings than just “mood”. He asks rhetorically, “Who- were never realised, but played an enormous ever, looking at Sarcophagi or Stañczyk with role for his generation. Wyspiañski intended to Dolls, does not notice anything more than ex- fill Wawel cathedral with stained glass windows 170 quisite showing Uncommon Culture Leon Wyczó³kowski, Alina, 1880 showing dead Polish kings alive in their regal Polish translator of Robert de la Sizeranne's attire. book Peinture anglaise contemporaine, the most important feature of the Pre-Raphaelite History for Wyspiañski is no longer an object school was the „truth” of their compositions of cold scientific study, which can be repre- and not “Botticellian” features of female sented in an impassive fashion, but the most figures in their paintings superficially regarded important source of inspiration for his own as their most important characteristic10 . It was life and the life of his generation - just as it was the same “truth” that Young Poland painters with the members of the Pre-Raphaelite Bro- were trying to express in their works. therhood. According to Helena d'Abancourt, tureworks.Notes: 1. Ford Maddox Brown, On the Mechanism of a Historical Picture, I“The Germ”, 1850, no 2, p. 70. http://www.gutenberg.org/ebooks/17649, [28.01.2014]. 2. Tim Barringer, Jason Rosenfeld, Victorian Avant-Garde In: Pre-Raphaelites: Victorian Avant-Garde. London: Tate Publishing, 2012, p. 11 3. Vera Schuster, The Pre-Raphaelites in Oxford, Oxford.
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