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Janmatejko Folder
Collector’s Coins Collector’s Coins National Bank of Poland Collector’sCollector’s CoinsCoins face value 20 z∏ face value 2 z∏ metal 925/1000 Ag and paints: metal CuAl5Zn5Sn1 alloy red, yellow, green and blue finish standard finish proof diameter 27.00 mm dimensions length: 40.00 mm weight 8.15 g width: 28,00 mm mintage 700,000 pcs weight 28.28 g mintage 57,000 pcs Obverse: An image of the Eagle as the state Emblem of the Republic of Poland, on the left side a palette and two Obverse: Stylised image of Jan Matejko’s picture "Staƒczyk" paintbrushes. Below an inscription: 2 Z¸, at the top in ("Staƒczyk during a ball at the queen Bona’s court after having a semicircular inscription: RZECZPOSPOLITA POLSKA 2002. Under m heard about the loss of Smoleƒsk"). In the right angle below an the left talon of the Eagle, the Mint mark:––w . image of the Eagle as the state Emblem of the Republic of On 11 December, 2002 the National Poland. Around the Eagle, an inscription: RZECZPOSPOLITA Reverse: Jan Matejko’s self-portrait, higher up, on the left side Staƒczyk from the painting "Ho∏d pruski" („The ceremony of Bank of Poland puts into circulation POLSKA and 20 z∏. Under the left talon of the Eagle, the Mint collectors’ coins depicting a person- m the Grand Master of the Teutonic Order swearing allegiance to mark:––w . age of Jan Matejko, of the following King Sigismund the Old of Poland"). Above in a rim an face values: inscription: JAN MATEJKO, below in a rim dates: 1838-1893. -
Matejko, Jan Jan Alojzy Matejko (1848–1893) Was a Polish Painter, Draughtsman, Portraitist, and Representa- Tive of Historicism and Academism in European Painting
47 Mastema 48 Matejko, Jan Jan Alojzy Matejko (1848–1893) was a Polish painter, draughtsman, portraitist, and representa- tive of historicism and academism in European painting. He created numerous religious and sacred paintings, and was the originator of the national Polish school of historical painting. Matejko initially wanted to become a religious painter and considered sacred painting his calling. However, after the defeat of the Polish January Up- rising (1863/4), he turned more towards historical painting – a move significantly influenced by Józef Szujski, co-founder of the so-called Kraków School of History. Matejko made numerous artistic journeys, visit- ing the following art centers in Europe: Paris (in 1867, 1870, 1878, 1880), Vienna (in 1866, 1867, 1870, 1872, 1873, 1882, 1888), Istanbul/I˙stanbul (1872), Prague and Budapest (1873), and Venice, Rome, and Florence (1878/1879 and 1883). He suc- cessfully exhibited his paintings many times at pub- lic exhibitions outside Poland, in major cities of Eu- rope, including Paris, Vienna, Berlin, London, Prague, Budapest, and St. Petersburg. Matejko’s “religious” paintings can be divided into three groups. Firstly, he composed several dozen historical paintings (including large format Encyclopedia of the Bible and Its Reception vol. 18 Marek Mariusz Tytko - 10.1515/ebr.matejkojan © WalterDownloaded de Gruyter, from Berlin/Boston, De Gruyter Online 2020 at 10/05/2020 10:54:34AM by [email protected] via Gary Helft 49 Matejko, Jan 50 paintings) with interwoven historical and philo- -
The Album Polish Art and the Writing of Modernist Art History of Polish 19Th-Century Painting
Anna Brzyski Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) Citation: Anna Brzyski, “Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting,” Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004), http://www.19thc-artworldwide.org/spring04/284-constructing-the- canon-the-album-polish-art-and-the-writing-of-modernist-art-history-of-polish-19th-century- painting. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2004 Nineteenth-Century Art Worldwide Brzyski: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting by Anna Brzyski In November 1903, the first issue of a new serial album, entitled Polish Art (Sztuka Polska), appeared in the bookstores of major cities of the partitioned Poland. Printed in a relatively small edition of seven thousand copies by the firm of W.L. Anczyc & Co., one of the oldest and most respected Polish language publishers, and distributed to all three partitions by the bookstores of H. Altenberg in Lvov (the album's publisher) and E. Wende & Co. in Warsaw, the album was a ground-breaking achievement. It was edited by Feliks Jasieński and Adam Łada Cybulski, two art critics with well-established reputations as supporters and promoters of modern art. -
Central Europe Beautiful and Monumental Painting from Poland and Czechoslovakia
Jan Matejko (1838-1893) Rejtan, or the Fall of Poland 1866 oil on canvas 282 cm × 487 cm (111 in × 192 in) Royal Castle, Warsaw Jan Matejko (1838-1893) Jan Matejko (1838-1893) Astronomer Copernicus: Conversation with God 1872 oil on canvas 221 × 315 cm (87 × 124 in), Museum of the Jagiellonian University, Kraków The figure on the far right is thought to be Pukirev. Masters of Central Europe Beautiful and Monumental Painting from Poland and Czechoslovakia Americans who lived during the Cold its notable buildings and edifices: castles, Polish and Czech artists of great skill attained War may remember the countries of Central palaces, houses, bridges, and great libraries. international renown. 1 Europe primarily as the satellite buffer Warsaw and its memory would be obliterated states dominated by the Soviet Union, their from the face of the earth. After the sudden unraveling of the Soviet Jan Matejko (1838-1893) Sigismund Augustus and Barbara people living behind the “Iron Curtain” under Union in 1991, many of the former Soviet at the Radziwiłł Court in Vilnius 1867 the oppression of totalitarian governments. Over many centuries, the Slavic regions of satellites gained national sovereignty for the oil on canvas 127 cm (50 in). Width: 107 cm (42.1 in). We also remember the Soviet repression Central Europe were repeatedly overrun by first time in centuries and formed democratic [143 x 122,5 x 5] cm of the Hungarian Revolution of 1956 and their stronger neighbors. They continually governments. As these regions opened up to National Museum in Warsaw its invasion of Czechoslovakia in 1968 to struggled to affirm their ethnic and greater freedom of travel and the influence suppress attempts to reform the hard-line cultural identities and gain political self- of the Internet, we of the West gained greater Communist regime. -
Academy of Fine Arts in Kraków Pl
Academy of Fine Arts in Kraków pl. Jana Matejki 13, Main Building • Rector’s Office, Administration • International Office • Dean’s Offices, Departments and Studios of the Faculties of Painting and Sculpture • Studios of the Faculty of Graphic Arts (Department of Drawing and Painting) • Museum • Archive • Galleries of the Jan Matejko Academy of Fine Arts in Krakow ul. Karmelicka 16 • Studios of the Faculty of Graphic Arts (Department of Animation, Photography and Digital Media) • Studios of the Faculty of Conservation and Restoration of Works of Art (Department of Conservation and Restoration of Sculpture - Conservation and Restoration of Stone Sculpture, Ceramics and Stucco Studio) ul. Smoleńsk 9 • Dean’s Office, Departments and Studios of the Faculty of Industrial Design • Gallery of the Faculty of Industrial Design (Stairs Gallery) • Studios of the Faculty of Graphic Arts (Department of Graphic Design) • Studios of the Faculty of Conservation and Restoration of Works of Art (Department of Conservation and Restoration of Easel Paintings, Department of Conservation and Restoration of Sculpture - Conservation and Restoration of Wooden Polychrome Sculpture Studio) • Main Library ul. Marszałka Józefa Piłsudskiego 38/3 • Dean’s Office, Departments and Studios of the Faculty of Intermedia • Gallery of the Faculty of Intermedia ul. Humberta 3 • Dean’s Office, Departments and Studios of the Faculty of Graphic Arts • Dean’s Office, Departments and Studios of the Faculty of Interior Design • Galleries of the Faculties of Graphic Arts and Interior -
Polish Painting Between Historicism and Modernism
Originalveröffentlichung in: Wasilewska, Joanna (Hrsg.): Poland - China : art and cultural heritage, Kraków 2011, S. 73-77 Maria Poprzgcka University of Warsaw Polish Painting between Historicism and Modernism In order to understand the specificity of the Polish art of the nineteenth century, it is worth recalling a few historical facts. Key among these is that throughout the nine teenth century Poland did not exist as an independent state. In the course of successive Partitions in the late eighteenth century, the Polish lands had been divided among Russia, Prussia and Austria. The three partitioning powers then proceeded, with vary ing degrees of severity, to denationalize their newly-gained territories. It was this lack of statehood in the nineteenth century that gave Polish art the exalted status of an upholder of national consciousness with the mission to consolidate the nation divided between three hostile states. In the words of a poet, artists were to exercise a “reign of souls” over the enslaved nation. The great prestige enjoyed by the towering Romantic Poets of the first half of the nineteenth century led to art being treated as a national religion and a path toward moral and national revival. The great hopes that accompanied the emergence of national painting stemmed from the belief thatthe medium was uniquely qualified to rouse and promote patriotic sentiment. National art obviously needed to be based on subjects taken from history. Historical painting was conceived as a sort of visual Bible of national consciousness. Hie growing hopes for a “Polish epic in painting were the most serious challenge with wruch the generation of artists coming of age around the mid-1800s had to contend, Sensational historicalromances devoid of any moral dimension popular in Western European painting of the time were inappropriate for such a purpose. -
POLISH ART NOUVEAU, 1890-1910 Hannah Justine Marchman a Thesis
NATIONALISM IN AN INTERNATIONAL MOVEMENT: POLISH ART NOUVEAU, 1890-1910 Hannah Justine Marchman A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum in Russian and East European Studies in the College of Arts & Sciences. Chapel Hill 2012 Approved by: Ewa Wampuszyc Pamela Kachurin Chad Bryant © 2012 Hannah Justine Marchman ALL RIGHTS RESERVED ii Abstract HANNAH MARCHMAN: Nationalism in an International Movement: Polish Art Nouveau, 1890-1910 (Under the direction of Ewa Wampuszyc) While the Art Nouveau movement in Europe has been extensively studied, Polish art has been largely left out of the discussion. However, this absence should not be considered as proof that Polish artists did not create art works in the Art Nouveau style. In fact, Art Nouveau was prevalent in Poland, but unlike the movement in Europe, Polish Art Nouveau tended to have political undertones. This thesis examines how Polish artists adapted the wider Art Nouveau movement to Polish culture, and assisted the political agenda that Polish art had been charged with in the aftermath of the eighteenth century partitions. Furthermore, this thesis describes the wider Polish Art Nouveau movement and looks at the underlying meanings of paintings, stained glass window designs, posters, and postcards from 1890 to 1910. iii This thesis is dedicated to my wonderful husband Patrick. His support, encouragement, and unconditional love kept me going. iv ACKNOWLEDGEMENTS Foremost, I would like to thank my advisor Dr. Ewa Wampuszyc for her patience, encouragement, and immense knowledge. -
Adolf Juzwenko Ossolineum. 200 Years with the People in Search of Their Way to Independence in the 1790S, Count Józef Maksymili
Adolf Juzwenko Ossolineum. 200 years with the people in search of their way to independence In the 1790s, count Józef Maksymilian Ossoli ński was in Vienna, seeking support for patriotic initiatives intended at preventing the collapse of the Polish state. Because it turned out to be impossible to prevent, Ossoli ński decided he should engage himself in the protection of national identity, historical memory and the will of the people to remain themselves. The family establishment of the Ossolineum Library, presented by the count to the emperor of Austria on 18 October 1816, was approved on 4 June 1817. It was indeed a success – after nearly twenty years of attempts, taken during various conflicts tearing Europe, Ossoli ński managed to give his compatriots an institution which proved to be increasingly successful in supporting Polish resistance against forced Russification and Germanisation. At the turn of the 20 th century, the arrangement of political powers in Europe had changed radically. When the Institute celebrated its 100 th anniversary in 1917, Europe had been at war for three years. The conflict continued between powers divided into two camps – Triple Entente and Triple Alliance. On the Eastern front, Germany and Austria-Hungary struggled against Russia, on the Western one – France and Great Britain fought against Germany. All parties were exhausted by the conflict, the armies – demoralised by Bolshevik propaganda. Eventually, United States' involvement determined the fate of the war. The chances for deep political changes in Europe grew. Nations of Europe, previously deprived of sovereignty, had begun to reach for independence. When the war ended, on 11 November 1918, Poles had begun to build their own state. -
Art in the Service of an Oppressed Nation
Originalveröffentlichung in: Ławniczkowa,, Agnieszka (Hrsg.): The naked soul : Polish fin-de-siècle paintings from the National Museum, Poznań [Ausstellungskatalog], Raleigh, NC 1993, S. 1-13 Art in the Service of an Oppressed Nation Introduction to the History of Polish Painting in the Nineteenth Century JAN K. OSTROWSKI N 1795, after eight hundred years of independent life, Poland watched help I lessly as Russia, Prussia, and Austria partitioned its territory into three occu pied zones, marking the end of its existence as an independent state. During the dark century of occupation that followed, Poland possessed neither the institutions nor the leadership to maintain a normal national life. For spiritual leadership, restoration of lost pride, and plans for the future, Poland turned to the only group in firm possession of a discernible national Polish identity — its poets and artists. Although influenced by the major European cultural and artistic movements of the time, Polish nineteenthcentury art is distinguished by its preoccupation with the sociopolitical and ideological conditions of Poland's status as an oppressed nation. This national element underlies the entire artistic expression of nineteenth century Poland. The Face of Nineteenth-Century Europe The period from 1815 to 1914 is unique in European history. The new European order created at the Congress of Vienna in 1815 resulted in a hundred years of unprecedented peace and stability that lasted until the onset of World War I. This seeming stability, however, was marked by successive changes over the course of the century that gradually led to a very different configuration of the map of Europe from the one established by the Congress of Vienna. -
BYU Scholarsarchive Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Zofia Stryje Ska: Women in the Warsaw Town
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2013-07-06 Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess Katelyn McKenzie Sheffield Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Sheffield, Katelyn McKenzie, "Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess" (2013). Theses and Dissertations. 3723. https://scholarsarchive.byu.edu/etd/3723 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess. Katelyn McKenzie Sheffield A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Martha Moffitt Peacock, Chair James R. Swensen Mark J. Johnson Department of Visual Arts Brigham Young University June 2013 Copyright © 2013 Katelyn McKenzie Sheffield All Rights Reserved ABSTRACT Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess. Katelyn McKenzie Sheffield Department of Visual Arts, BYU Master of Arts In this thesis I consider the unique position that Polish artist Zofia Stryjeńska (1891- 1974) occupied during the interwar period. Lauded during her time as the most popular artist in Poland, the acceptance of Stryjeńska’s female voice in representing a national vocabulary was unprecedented and deserves closer examination. -
LIFE and CHIMERA: FRAMING MODERNISM in POLAND By
LIFE AND CHIMERA: FRAMING MODERNISM IN POLAND by JUSTYNA DROZDEK Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Dissertation Advisor: Dr. Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY August, 2008 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2008 by Justyna Drozdek All rights reserved To mama and tata Table of Contents List of Figures 2 Acknowledgements 7 Abstract 9 Introduction 11 Chapter 1: Poland: A Historical and Artistic Context 38 Chapter 2: Life’s Editorial Directions: Crafting a Modernist Journal 74 Chapter 3: Life’s Visual Program: From Tropes to “Personalities” 124 Chapter 4: Chimera and Zenon Przesmycki’s Polemical Essays: Artistic Ideals 165 Chapter 5: Chimera’s Visual Program: Evocation and the Imagination 210 Conclusion 246 Appendix A: Tables of Contents for Life (1897-1900) 251 Appendix B: Tables of Contents for Chimera (1901-1907) 308 Figures 341 Selected Bibliography 389 1 List of Figures Figure 1. Jan Matejko. Skarga’s Sermon [Kazanie Skargi]. 1864. Oil on canvas. 224 x 397 cm. Royal Castle, Warsaw. Figure 2. Karel Hlaváček. Cover for Moderní revue. 1897. Figure 3. Wojciech Weiss. Youth (Młodość). 1899. Reproduced in Life 4, no. 1 (1900): 2. Figure 4. Gustav Vigeland. Hell. 1897. Bronze. National Galley, Oslo. Two fragments of the relief were reproduced in Life 3, 7 (1899). -
Caroline Kaiser Jan Matejko at the World Exposition 1873 Vienna
Caroline Kaiser Jan Matejko at the World Exposition 1873 Vienna Sztuka Europy Wschodniej Искусство Bосточной Европы Art of Eastern Europe 4, 327-333 2016 SZTUKA EUROPY WSCHODNIEJ Искусство восточной Европы THE ART OF EASTERN EUROPE TOM IV caroline kaiser rheinische Friedrich-Wilhelms-universität Bonn jan Matejko at the World Exposition 1873 Vienna The importance of Jan Matejko with respect to the nubian Monarchy 3. With the example of the 1873 art and history of Poland is undisputed . His oeuvre World Exposition Vienna, this article will explore, as well as his person continue to be omnipresent in excerpts, the little known and widely unexam- in Poland today and are also a topic of research . In ined history surrounding the reception of Matejko’s Austria and Germany, however, the history painter work drawing on reports in the Viennese press at is widely unknown despite numerous points of the time 4. contact with the German-speaking cultural land- Jan Matejko’s participation in international ex- scape during the artist’s life . Following the Krakow hibitions began in 1865 at the Paris Salon with uprising in 1846, Austria annexed Krakow, where Skarga’s Sermon5 (1864, ill . 1) . The Polish noble- Matejko was born in 1838 and which had been man Maurycy Potocki had purchased the painting an independent free state up to that point 1. Until one year prior and helped to finance Matejko’s par- his death in 1893, Krakow remained the centre of ticipation in the Salon .6 Skarga’s Sermon was award- his life . The artist was as such part of the Habs- ed one of 41 medals in the category painting 7.