ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof. Dr. Waldemar Deluga, Prof. Dr. Lechosław Lameński Progetto grafico: Anna Wawrzyniak Maoloni Impaginazione e stampa LogoScript Sp. z o.o. © Accademia Polacca delle Scienze Biblioteca e Centro di Studi a Roma ISSN 0239-8605 ISBN 978-83-956575-5-9 Polish Institute of World Art Studies JERZY MALINOWSKI INTRODUCTION 7 MARIA NITKA *** 17 PETRA TEN-DOESSCHATE CHU SIEMIRADZKI’S ROME 21 PAVEL KLIMOV RUSSIAN ARTISTS IN ROME: THE ERA OF HENRYK SIEMIRADZKI (BASED ON THE ANNIVERSARY EXHIBITION AT THE STATE RUSSIAN MUSEUM IN ST. PETERSBURG) 35 LEILA S. KHASIANOVA “DO WE NEED A RUSSIAN ACADEMY IN ROME?” HENRYK SIEMIRADZKI AND ART EDUCATION 53 KAMILLA TWARDOWSKA HENRYK SIEMIRADZKI AND HIS CORRESPONDENCE WITH POLISH PAINTERS IN ST. PETERSBURG AND MUNICH IN THE COLLECTION OF THE NATIONAL MUSEUM IN KRAKOW 63 NINA MARKOVA SOME IDEAS ABOUT A FRENCH ARTIST OF THE TIME OF LOUIS XV PAINTS THE PORTRAIT OF A MARQUISE BY HENRYK SIEMIRADZKI 73 WITOLD DOBROWOLSKI PROGRAMME RELATED CONTENT IN THE JUDGMENT OF PARIS BY HENRYK SIEMIRADZKI 87 GRZEGORZ FIRST INSPIRATION – SELECTION – FUNCTION. AN ANCIENT OBJECT IN HENRYK SIEMIRADZKI’S PAINTINGS 103 MICHAŁ HAAKE REALISM AND FIGURALISM. ON CHRIST AND THE HARLOT BY HENRYK SIEMIRADZKI 119 CONFERENZE 145 CONFERENZE 5 MARIA NITKA NAKED TRUTH AND BEAUTY OF THE NUDE IN HENRYK SIEMIRADZKI`S PHRYNE 135 TATIANA KARPOVA HENRYK SIEMIRADZKI. IN MONASTIC SILENCE 155 AGNIESZKA ROSALES RODRÍGUEZ VISUALITY ON DISPLAY. HENRYK SIEMIRADZKI’S “FETISHIZATION OF SIGHT” 171 AGNIESZKA KUCZYŃSKA THE LIMITS OF PAINTING: THEATRICAL CURTAINS BY HENRYK SIEMIRADZKI 181 MARZENA KRÓLIKOWSKA-DZIUBECKA HENRYK SIEMIRADZKI’S DECORATIVE PAINTINGS IN THE CONTEXT OF EARLY-MODERN ART IN ROME AND VENICE 191 MARIA POPRZĘCKA AN ACADEMICIAN IN A ROMAN SLAUGHTERHOUSE 201 WALDEMAR OKOŃ SIEMIRADZKI AND THE THREE BARDS 215 LEONÉE ORMOND FREDERIC LEIGHTON AND THE POETS 223 AGNIESZKA KLUCZEWSKA-WÓJCIK MARKETING ACADEMISM? HENRYK SIEMIRADZKI’S STRATEGIES OF DISPLAY 237 VERONICA-IRINA BOGDAN HENRYK SIEMIRADZKI ON THE WORLD AND INTERNATIONAL EXHIBITIONS 253 LIDIA GERC ”THINKS LIKE DANTE, HANDLES PAINTS LIKE BOCCACCIO” ABOUT HENRYK SIEMIRADZKI IN VIENNA 261 ANNA MASŁOWSKA HENRYK SIEMIRADZKI’S PAINTING ON THE EUROPEAN MARKET OF PHOTOGRAPHIC REPRODUCTIONS OF WORKS OF ART 279 CONFERENZE 145 CONFERENZE 6 I. Henryk Siemiradzki, Christ and the Harlot, 1873, oil on canvas, 250 × 499 cm, State Russian Museum, St. Petersburg. Photo Museum. II. Henryk Siemiradzki, Nero’s Torches, 1876, oil on canvas, 385 × 705 cm, National Museum, Krakow. Photo Museum. III. Henryk Siemiradzki, Phryne at the Festival of Poseidon in Eleusis, 1889, oil on canvas, 390 × 763.5 cm, The State Russian Museum, St. Petersburg. Photo Museum. IV. Henryk Siemiradzki, The Judgment of Paris or The Triumph of Venus, 1892, oil on canvas, 99 × 227 cm, National Museum, Warsaw. Photo Museum. V. Henryk Siemiradzki, Christ and the Woman of Samaria, 1890, oil on canvas, 106.5 x 184 cm, Lviv National Gallery of Arts. Photo Museum Photo Museum. VI. Henryk Siemiradzki, Christian Dirce, 1897, oil on canvas, 263 × 530 cm, National Museum, Warsaw. Photo Museum. VII. Henryk Siemiradzki, Curtain for the Kraków Theatre (the Juliusz Słowacki Theatre), 1894. Photo Museum. VIII. Henryk Siemiradzki, Curtain for the Lwów Theatre (the Salomea Kruszelnicka Lviv State Theatre of Opera and Ballet), 1900. Photo PISnSŚ. IX. Henryk Siemiradzki, With the Viaticum, 1889, oil on canvas, 60 × 131 cm, National Museum, Warsaw. Photo Museum. X. Andrzej Zajkowski after Józef Buchbinder, Light and Dark. Plafond by Henryk Siemiradzki in the vestibule of the palace of Jan Zawisza in Warsaw, 1884, wood- engraving, Iconographic Resources, G.61226, National Library, Warsaw. Photo National Library. INTRODUCTION he 24th of October 2018 marked the 175th anniversary of birth of Henryk Siemiradzki, the painter, whose origin, education and artistic and social activity united various areas of today’s Europe: Poland, Belarus, Ukraine, Russia, Germany, Italy and TAustria (fig. 1). His painting, representing academism – one of the two main artistic options, is of key importance for the art of the 19th cen- tury in Central and Eastern Europe. The cultural genesis of his painting is of great significance. The pre- partition lands of the Polish-Lithuanian Commonwealth were domi- nated by the tradition of Mediterranean culture, propagated by the Ja- giellonian University in Krakow and, the most important at the turn of the 18th and 19th centuries, Wilno (Vilna, Vilnius) University. The Sie- miradzki noble family came from Małopolska – Lesser Poland (from the Radom area, south of Warsaw); in the 17th century they moved to the area of Nowogródek (Navahrudak) in the Grand Duchy of Lithua- nia, where the artist’s ancestors held public offices – his grandfather was a chamberlain of Nowogródek Voivodeship. The family had close contacts with Vilna University, where in 1794 Franciszek Smuglewicz, an outstanding painter who had lived in Rome for many years, founded the first Department of Drawings at the Faculty of Literature and Art. Among the students of this Faculty was the Polish national poet Adam Mickiewicz, who visited the Siemiradzki’s manor house on 145 a number of occasions. After the November Uprising of 1831, the Uni- versity was closed down by the Russians. Grand Duke Konstantin Pavlovich of Russia, the Viceroy (namiest- nik) of the Tsar of Russia in the Kingdom of Poland, established after CONFERENZE 7 JERZY MALINOWSKI the Congress of Vienna in 1815, and commander of the Lithuanian troops and of those of the Russian provinces that had formerly be- longed to the Polish-Lithuanian Commonwealth while passing through Nowogródek met the artist’s father, Hipolit, and offered him studies at the officer cadet school in St. Petersburg. After graduation, he was sent to a regiment of infantry in Novobelgorod (now Pechenihy) near Khar- kov (Kharkiv, now in eastern Ukraine). He completed his service in the rank of general. Novobelgorod was where the future painter was born. In Kharkov, he studied at gymnasium and university, obtaining a doctorate in nat- ural sciences (fig. 2). At the same time he studied sketch and painting with Dmitry Bezperchy, a student of Karl Briullov at the Imperial Acad- emy of Arts in St. Petersburg. Knowledge of classical culture and the basics of painting opened the way for Siemiradzki to Saint Petersburg Academy. His fate and work at the Academy and after 1872, when he settled in Rome will be the subject of speeches by the conference par- ticipants. His international debut took place at the 1873 Vienna World’s Fair, where he received a medal for the painting Christ and the Harlot (now in the State Russian Museum in St. Petersburg). He received gold me- dals at subsequent World Expositions in Philadelphia in 1876, Mel- bourne in 1882 and, above all, in Paris in 1878, among others for his painting Nero’s Torches (or Candlesticks of Christianity), which he do- nated to the city of Krakow, thanks to which the National Museum was established in 1879. The painting Phryne at the Festival of Poseidon in Eleusis, purchased by Emperor Alexander III from an individual exhi- bition at the Academy in St. Petersburg in 1889 began the collection of what is today known as the State Russian Museum. The last of Siemi- radzki’s great paintings, Christian Dirce, after a posthumous exhibition in 1903 at the Society for the Encouragement of Fine Arts (Zachęta) in Warsaw, was donated by the artist’s wife Maria to the Zachęta collec- tion, from where it was transferred to the National Museum. In Rome, where he exhibited his works and participated in artistic life as a mem- ber of the Academy of St. Luke, he built a villa-studio at Via Gaeta, which was visited by eminent personalities, artists and art lovers from 145 all over the world (fig. 3-4). Ever since 1884 he spent his summers in his manor house in Strzałków near Częstochowa in Poland in which he also passed away in July 1902. Siemiradzki was laid to rest in the Polish National Pantheon in the crypt of the Pauline Church on the CONFERENZE Rock in Krakow (fig. 5). 8 INTRODUCTION I In the consciousness of Poles, Siemiradzki was, next to Jan Matej- ko, the most important Polish painter of that time.