PODCAST Polska Siła obrazu Mistrz Jan Matejko i jego uczniowie

My name is Wielostra Cicha I invite you to an online meeting featuring the exhibition Polish Power of Image I had the pleasure of meeting the audience in the space of this exhibition This concept developed on the Polish side by curator Iwona Danielewicz I allowed Agnieszka Rozales-Rodriguez to craft multi-layered narratives Hence the idea for the series of meetings at the exhibition One of the proposed topics was touring the exhibition from the perspective of the artistic master-apprentice relationship dedicated to the artistic legacy of Master Jan Matejko and his most outstanding students Jacek Malczewski's self-portraits featured on the slide Stanisława Wyspiańskiego Józef Mehoffer Lona Wyczółkowskiego They are stored in museum warehouses on a daily basis They differ in composition color scheme and painting technique It connects the period in which it was created—the years 1892 to 1893 Jan Matejko's self-portrait can be seen in the permanent exhibition just near the artist's largest work in our collection The Battle of Grunwald Jacek Malczewski and Jan Matejko painted self-portraits for the order of the eccentric art collector Ignace Korwin-Milewski He commissioned portraits of Polish painters he most admired It was meant to be a life-sized full-figure depiction Artists should hold a palette in their hands The background was meant to be neutral All the painters adhered to these requirements Everyone except Jan Matejka Due to health issues but above all Due to his artistic position the master did not meet Milewski's expectations A collector had to come to terms with that Jan Matejko reluctantly painted self-portraits His students belonging to a different generation already explored this topic frequently in keeping with the spirit of the age Stanisław Wyspiański's self-portrait is unusual within his artistic oeuvre due to its dark color palette oil painting technique and wooden canvas made of oak Józef Mehoffer used watercolor Leon Wyczółkowski employed the pastel technique None of these self-portraits They were not included in the exhibition Poland's Visual Power but our virtual meeting gives us the chance to add a few more works from the collection of the National Museum in Warsaw to expand this story about Master Jan Matejko and his pupils Let us begin however with the work opening the exhibition: Rejtan the Fall of Poland by Jan Matejko marking the beginning of a story about an interregnum a time when Polish imagination was ruled by artists First and foremost of course Jan Matejko The painting befitting a work on a historical theme has impressive dimensions Nearly five meters wide and about three meters high The scene takes place in the parliamentary chamber At the Royal Castle in Warsaw Below we see an overturned chair Beside it scattered document files Feather-trimmed three-cornered hat and scattered letters Gold rubles spilled out from within One coin rolled beneath the feet of the man dressed in red That was Adam Ponienicki e marshal of the confederated Sejm approving the first partition of Poland A traitor bribed by the Russians Merchants standing nearby Franciszek Xawery Branicki and the very young Stanisław Szczęsny Potocki An old man in an elaborate nobleman's outfit To Franciszek Salezy Potocki his father Turning his back on the group of traitors like a blind man reaching out his hands ahead higher up on the balcony in the company of a lady Russian Prince Nikolai Repnin presides Above the hunched deputies hangs a life-sized portrait Carycy Catherine II It would be difficult to regard Matejka as an illustrator of Polish history since most of the individuals listed It was not present during the session of the Sejm Franciszek Salezy Potocki had been dead for several months already and there was no portrait of the empress e interior architecture did not reflect reality Matejko did use historically accurate costumes however a masterful way yet he acted as a teacher with the intent of a philosopher of history explaining and shaping patriotic attitudes Let us look to the left of the empress's portrait Above the crowd rises the figure of a young man olding swords in his hands and a Confederate cap Clearly looking at the man on the floor shielding the exit with his body This is Tadeusz Rejtan deputy from the Nowogródek region e titular hero of the painting In a dramatic gesture he opposes the abolition of the liberum veto e confederation of the Sejm and consequently the legitimization of the First Partition of Poland At his side is the hilt of a sword Perhaps it was this very weapon that the young man seized in a symbolic gesture Continuing Rejtan's legacy The painting aroused great interest and sparked intense controversy There were complaints about the color schemes and an illegible composition pressed into the corner of the room a figure The greatest sin of the artist however was said to lie in reminding e aristocracy's haughty attitudes toward representatives of well-known respected families Efforts were made to prevent the artwork from being displayed Matejko true to his nature as a philosopher of history presented a synthesis of the era The painting was exhibited at the world exhibition in Paris Captivated with the vidness of the characters the drama of poses and gestures He won the first-class gold medal In 1873 Jan Matejko was appointed director The Academy of Fine Arts in Kraków He held this position for 20 years until his death He also led a master class in which the most talented students learned the intricacies of painting In multi-figure compositions Among the most talented are for instance Jacek Malczewski Sometimes compositional solutions in Malczewski 's works are determined by directional elements They seem similar to Jan Matejko's concept Let's examine the painting by Jacek Malczewski – Melancholia It is one of the most well -known yet also one of the most ambiguous interpretations of the artist's work Image in the form of an elongated rectangle nearly 2.5 meters wide The scene unfolds similarly to Matejka’s set indoors yet this time the stage is shared by real and fantastical events It's the artist's studio His workshop is closed with painting tools scattered across the tabletop In the bottom right corner and in the opposite corner an act of creation There the painter sits just so Before the bleachers figures of children emerge from the surface of the canvas floating above the floor In the procession young men are seen carrying baskets weapons and flags in their hands Old men stand helpless by an open window A woman in black stands in the garden leaning back against her spine The parapet blocks this path to freedom He keeps the window tightly shut This is the titular Melancholia a manifestation of temperament e creative genius of the artist or perhaps a symbol of doubt sorrow On the reverse of the painting the artist wrote Melancholia prologue vision the last age in Poland It's hard to say whether this was intended as the painting's title or merely ote on the concept of the work Melancholia is interpreted in national terms as a story of the fate of Poles Behind the fences The image is read as a symbolic manifesto of the power and limitations of artistic imagination Malczewski's painting is not anchored as Matejka 's is in specific events or historical figures a historical costume Our most popular symbolist uses a different color palette than Professor Matejko Otherwise it also leaves a stain What unites the master and his student is a sense of the artist's mission and conviction e silence of art Jacek Malczewski once said that if he had not been Polish He wouldn't be a painter Where does this belief come from Let's examine another of Malczewski's paintings From the exhibition Poland the Power of the Image This was the painter's inspiration from 1897 Jacek Malczewski was born In 1854 born into a impoverished noble family with patriotic traditions he was a member of e oldest generation of artists associated with master Matejka merely 16 years younger than him found himself drawn into the scene e began attending the Kraków Academy of Fine Arts at the age of 17 as a free listener His studies fell during the firs Matejka's directorship The master wrote to Julian Malczewski the father of the young art apprentice Hand-drawn sketches by your son Jack seem to indicate and promise immediacy alent in the field of malarski With the urgency shown today by so many much can be achieved in a new domain and w Live your own dreams and those of others Perhaps it is precisely this burden of your own and others' expectations from family professors and the public He projected this perspective onto Malczewski's creativity We encounter this same issue in the painting as well The painter's vision The scene takes place inside a dimly lit studio On the left side near the center of the image a figure with a beret is positioned sideways to us Leans forward deeply a young artist hiding his face in his hands Behind the painter's canvas stands A standing woman shown in full profile gazing upward a veil has slipped from her head The crown tied with ribbons is woven from straw Before it it holds a glass ball or perhaps a soap bubble The woman's waist is wrapped in a soldier's belt Her feet are shackled Was this the vision of Poland the artist intended to paint Was this his true intention The next one among Matejka's most recognizable students and simultaneously one of the most important artists for Polish art is Stanisław Wyspiański Like Jan Matejko Stanisław Wyspiański was an artist connected to Kraków His father was a sculptor and Matejka's schoolmate so the atmosphere of creative struggle was therefore Stanisław had known him since childhood Due to family connections he met Jan Matejka quite early on who He perfectly recognized Wyspiański's exceptional talent The master was to say it twice—Matejka No doubt the boy's fascination with history was far from insignificant Ultimately both the area and In both artistic endeavor and the scope of talent the student surpassed the master Today's artists They noted certain similarities in temperament—complete dedication to art and unwavering conviction in one's own infallibility Wyspiański was fascinated by nature yet in his work landscape was an exceptional theme View from the artist's studio window onto Kościuszki Mound which was created while the artist was already seriously ill And he didn't leave his apartment In the winter scene a path stretches diagonally upward Its left edge The stunted trees are growing Snow dust obscures the horizon which also obscured the titular Kościuszko Mound Invariably the work captivates with its subtlety of color with a delicate line and economical use of artistic means Mastery of drawing Wyspiański achieved recognition while studying at the Kraków School of Fine Arts Travel to Paris brought the artist a transformation in perceiving art in handling form and color Between December and February 1904 –1905 Wyspiański painted at leas A dozen or so views from the window of his studio He created them in his favorite medium—pastel Another view is framed vertically The artist lowered the horizon line He displayed a magnificent play of light and a shift in the clouds' color This time in the distance a figure is visible Kościuszko Mound A symbol of Polish patriotism One must also mention the turbulent events the events of 1905 as these works were being created Social unrest the Russo-Japanese War and the artist's deteriorating illness All of this makes the views from the studio window of Kopiec Kościuszki described as ot merely in purely artistic terms Wyspiański more than any other artist of the turn of the nineteenth and twentieth centuries It combined a modern workshop with a historic- nationalist message The works displayed at the exhibitio They come from the collection of the National Museum in Warsaw The third painting is more vibrant in color from shades of green to violet and blue in the batch of snow covering distant hills and the titular Kościuszko Mound The Polish School of Landscape Painting was established At the Kraków university after Matejka's death thanks to Jan Stanisławski Yet even during Matejka's time At the Academy of Fine Arts the principles of landscape painting were taught Field trips for regional exploration were part of the tradition The professors' spring outings with their students It was an opportunity for sketching from life and Jan Matejko had the chance to tell stories on the history of visited places Among drawing exercises through the centuries The proven method was copying the works of master artists In the collections of the National Museum in Warsaw A sketch in pencil by Stanisław Wyspiański remains This is a child's head by Jan Matejko Portraits of children are a subjec strongly associated with Wyspiański's work Above all intimate hastily painted With such precise strokes of pastel chalk Portraits of their own children The artist's sketch on the left has a study-like quality The boy's face is turned downward his hand They are meticulously refined much like the white flowers of the hydrangeas with their green leaves Of course we wouldn't have found these works at the Poland's Visual Power exhibition Examining the evolution of Stanisław Wyspiański's workshop is worth exploring Jan Matejko painted meticulously composed scenes Painted portraits of their own children Often the master's children and wife served as his models The悬挂 of the Zygmunth bell on the tower of Kraków's cathedral in 1521 could be regarded as as a collective portrait of the family friends and acquaintances of Jan Matejko depicted in Renaissance attire and settings Old Town and Wawel Castle Year 1874 date of the painting's creation a period of great achievements by Master Jan professor and director of the Kraków School of Fine Arts member of the European Academy of Arts husband father of four children Yet the essence of this work is a narrative about the history of Poland about its golden age the era of King Sigismund I the Old On the left side of the image stands the king's family and the royal court Zygmunt the Old stands looking proudly toward the future He placed his right hand on the head of Sigismund II Augustus's son On one side sits Queen Bona beside her Princess Izabela At the king's feet sits the jester Stańczyk He pressed his hand to his ear listening intently The sound of the Sigismund Bell will soon ring out He will accompany the Poles through the ages in moments of joy and triumph and also during times of mourning and national tragedies The bell is removed only from its mold The title indeed suggests a hanging bell but after all the artist isn't illustrating a story Weaves a story in which past and future intertwine figures appear who did not take part in the events yet their authority and significance for Polish culture They become a crucial element of this allegory of Poland's greatness The artist emphasized the splendor of the royal court through vibrant contrasts rippling in gold red and yellow as well as the richness of intricately painted costumes Jan Matejko was a master at depicting fabrics He had a substantial collection of them It was mentioned that he could create impressive draperies on a painting from just a small scrap of fabric He carefully sketched the intriguing details into his album known as the Treasure Chest In his meticulous textile designs and props Władysław Łuszczkiewicz encouraged Matejka one of the professors at the Academy of Fine Arts whose student was also Jan Matejko The painting was created on a wooden panel perhaps precisely because Matejko held it in particular affection e Renaissance era He followed in the footsteps of his teacher professor and director Academy of Fine Arts Wojciech Statler Jan Matejko visited Wojciech Statler with his father He showed his work Statler was an authority in the field of art Highly educated and from a Swiss aristocratic family the painter was a respected artist He was friends with Słowacki and corresponded with Mickiewicz Statler confirmed Jan's talent This ultimately convinced Franciszka Matejka's father that the profession of painter could be suitable for his son At thirteen Jan entered the Academy of Fine Arts which he completed in 1858 The program included a drawing by Władysław Łuszkiewicz e perspective universal history painting and anatomy landscape drawing and painting sculpture art history One of the earliest works that earned him recognition was a painting of a dancing figure at a ball at Queen Bona's court in contrast to the lost Smoleńsk from 1862 Such a detailed title was characteristic of historical painting conveying essential information about the depicted event In a darkened chamber a jester sits clad in his distinctive red fool's attire He slapped his hands together and rested his elbows on the armrest Lost in thought he gazes downward and in the distance to the right the king and queen are seen from behind at a ball To the left against the dark star-studded night sky a comet glides silently across the heavens A letter card sealed with a stamp and inscribed in Latin lies on the table covered with a patterned fabric by the window There are many mysteries and historical contradictions in this image to this day definitive interpretations remain elusive Over time the image acquired a universal message with the shortened title turning the jester into the central character A tragic figure a thinker burdened by the fate of his nation Let us look at the face of the statuette—it is the very face of Jan Matejko sensing the drama of what was to come which were experienced just one year after the painting was completed when the January Uprising broke out Jan Matejko once again confirmed his role as the creator of national mythology placing the cricket within its pantheon The artist often referred to as Poland's Delacroix readily drew inspiration from this master rough dramatic compositions meticulous modeling theatrical framing and emotional depth Jan Matejko did not hide the fact that he saw in Jack Malczewski his successor and continuator of historical painting Highly educated and raised on Romantic poetry Jacek was initially deeply influenced by his master Yet he preferred to focus on the present era avoiding historically accurate meticulously crafted costumes Triptych My Life was painted between 1911 and 1912 That was when the artist began his reckoning with his own life It seemed as though everything reminded Malczewski of happily spent moments Childhood at the court of the uncle's estate in Wielgie Jacek Malczewski was preparing there under the supervision of Adolf Dygasiński for the gymnasium entrance exam It was a time of shaping artistic tastes life choices and the path of a young person My Life paintings are created in oil on canvas The right wing was painted first Depicts a young nearly naked woman with a scythe Death beckons a man carrying a sack over his shoulder A military belt His legs are bound with broken handcuffs He turns his back to us glancing at the woman Beyond the fence lie the estate buildings in Wielgie In the central section of the triptych the interior of the manor is depicted In the center facing us sideways captured in three- quarters view an elderly servant is polishing glasses Deep inside on the left a very young Jacek holding a slice of bread and an apple in his hand He watches the servant's work closely The background of the image is filled with military uniforms and sabers Ten images on the left depict small figures immersed in a desolate landscape On the scorched reddish earth we see a man wearing a military coat and a cap on his head Struggling greatly it makes its way toward the water trapped in a wooden leaky bucket Beside him sits a young girl with light golden braids Malczewski frequently employs the same motifs: landscape well figure of death architecture I was finally a wandering figure seeking a path A soldier's coat was another recurring prop a symbol of an imposed role a symbol of the nation's oppression yet simultaneously a sign of the ongoing struggle Malczewski carried his fascination with Słowacki's creativity from his family home He repeatedly returned to these themes From the romantic prose of Anhelli At the exhibition Poland's Power of Image one could see LOS Elenaj From the collection of the National Museum in Poznań Painted between 1908 and 1909 The first versions of Elena's death in Siberia were still rendered in a realistic style They were created in the 1880s In these scenes Malczewski depicted the fates All generations of exiles Anielica Eloe leans toward us carefully tying the ends of her wings It embraces Elenaj's body to lift her into the afterlife The painting is rendered intense With contrasting colors it captures the poetic evocativeness of Słowacki's description The image of Death of Elenaj comes from the collection of the National Museum in Warsaw The positioning of Elenaj's body after dea Evokes the works of Andrei Mantegna sharply depicting the perspective of Christ's dead body Above Elena's head is placed an image of the Blessed Mother The artist sanctifies the martyrdom of the exiles The death of Elena is painted in bronze tones similar to scenes depicting the journey of exiles to Siberia which emerged in the 1880s At the Poland's Image Power exhibition works by Malczewski from that period were also showcased Small formats painted in nearly monochromatic hues depicting a moment of respite for the exiles side the temporary detention facilities known as stages prisoners are of various ages and come from different social backgrounds An armed soldier stands in the open doorway at the left edge of the image Malczewski knew these dramatic realities firsthand through direct accounts from the exiles as well as from the widely recognized works of Artur Grottger Despite being in the masterful category Jana Matejki's students had considerable freedom in choosing themes and historical subjects religious and their progress depended on their own efforts yet That formula began to weigh heavily on Malczewski He tried to free himself from the grip of Master Matejka He an exceptionally diligent painter began disappearing from the studio at the Academy of Fine Arts when the time came correction by Professor Matejka In the context of the relationship with master Matejka significant are Malczewski's words When in one conversation I mentioned opposing Matejka's color I began painting pictures In gray tones from Siberia Jan Matejko painted in his studio at the School of Fine Arts The guard kept Secretary Gorzkowski's secret and that likely convinced Matejka to meet with Ignacy Korwin-Milewski for painting a self-portrait The painting was created in 1892 just one year before the artist's death The artist is seated in a chair wrapped in a red cloth seated inside the studio her worn hands resting on the armrests He glanced intently at the viewer then to the right of the seatback placed the palette and brushes onto the old book The self-portrait is on permanent display at the National Museum in Warsaw It is featured in the museum's permanent exhibition Polish Image was showcased painted by Matejka a portrait of Henryk Krajewski a lawyer and insurgent He sits in the same armchair as Jan Matejko turned slightly sideways toward us watching intently possibly suspiciously Both Matejko and Krajewski look significantly markedly older than they should I'm getting older The painter had a tendency to capture the subjective impression that the sitters left on him Wyspiański opposed long sessions believing that a portra You can paint a quarter hour half an hour an hour but you can't paint it for longer That will no longer be a portrait but rather a depiction of the person their story A person is not the same on Tuesday He was different on Monday Irreversibly changed by experiences and reflections The portrait is a reflection of a moment Matejce was criticized for posing models unnaturally and painting hands that were too slender Portraits were a secondary subject for Matejka and the appearance of the subjects reflected the painter's own mood embroiled in personal and health struggles exhaustion and the steadfast artistic formulas he remained loyal to a lifetime's work and finally relentless criticism often harsh and no successors to carry on the master's legacy Włodzimierz Tetmajer one of the next students from the master class of Jan Matejko whose painting could be seen at the exhibition Polish Image A painted scene from 1891 depicts musicians in Bronowice Showcasing the typical painter's simplification of form and sharp light-and- shadow contrasts The artis He studied in Monaco Vienna and Paris Jana Matejka is regarded as an unequivocal professor advocating his vision of art No wonder Tetmajer feared showing his work that was so avant-garde Paintings requiring correction Matejko however was aware of the shifting currents in artistic experimentation He stunned the young painter with his words Many people believe the diligent painter I don't understand the new currents the new way of life But I my lord when I'm at home in the countryside often observe as early morning citizens go forth with jugs to draw water casting deep blue shadows behind them shadows I see the sun too and the contrasts of the sky reflected in the shadows but I can't capture that I have other interests What belongs to you is air and sunlight I however I shall remain with the ancient kings I like the image very much I respectfully request that you clearly see who studies nature and has something to sayings and who studies others' images Włodzimierz Tytmajer married in 1890 Anna Mikołajczykówna Settled in Bronowice observing and preserving the folklore of the place The Tytmajer Mansion was a gathering place for artists where Stanisław Wyspiański once resided e wedding ceremony What united Tytmaier and Matejka was yet another bold undertaking Work on the polychromes in the Church of St Mary in Kraków The work began in 1889 Matejko created designs that his students traced and painted Stanisław Wyspiański Józef Mehoffer Włodzimierz Tytmajer On the slide we see one of Matejka's works From the collection of the National Museum in Warsaw Angel's breastplate design for the polychromy of the Mariacki Church In Kraków the realization provided an opportunity to encounter original Gothic art and monumental painting It was an exceptionally significant experience for young artists and their growing interest in monumental art large-scale projects for churches which they successfully executed as independent creators The earnings from this project enabled artistic trips such as to Paris Matejce Working on the polychromes brought him as much joy as sorrow He complained about his students for their lack of care They replied that the details wouldn't be visible from below But Matejko answered that God would see those details Józef Mehoffer achieved his greatest international success in the field of stained-glass design In 1895 he won the competition for the design of stained glass windows for the Saint Nicholas Collegiate Church in the Swiss city of Fribourg Mehoffer became in Polish art a paradigm of the artist whose personal and professional lives were inextricably intertwined It was filled with success and happiness At the exhibition Poland's Image Power only one painting was displayed created by us In 1911 the painting Sun in May by the artist Mehoffer Mehoffer bought a manor in Jankówka near Kraków He built it designed the garden and arranged it with great care Laden with sunlight The image shows the interior of the manor's veranda The glass doors open wide onto the garden In the distance we see the silhouette of Jadwiga Mehofferowa the artist's wife facing away from us gazing into the garden Or perhaps she's looking for her husband to drink tea with him together In the foreground a steaming samovar is visible On the table already stood two white-and-blue teacups on their saucers Mehoffer presented The ideal image of family happiness Carefree genuine Arcadia was a rare motif in Polish art of the early 20th century Far removed from pastoral were Joseph Mehoffer's relations with Stanisław Wyspiański Collaborative work studio dynamics rivalry differing temperaments differing worldviews caused Conflicts arose and eventually Stanisław cut ties with Józef They had known each other They've known each other since middle school They worked together at the Mariacki Church traveled to Paris together In their work Similar themes appear They also painted their own portraits In our collections There is a drawing by Józef Mehoffer portrait of Stanisław Wyspiański side-on standing pose A rather rare full-body view of the artist It was created during their shared stay in Paris Showing this sketc I would like to encourage you to explore the works of Wyspiański and Mehoffer in our digital collections e Paris period In 1894 Stanisław Wyspiański returned to Poland That is when the painting "Planty at Dawn" was created The center of the composition features a pathway leading up to the hill beneath the castle In the center stands a lighthouse casting a yellow glow Along the avenue stretching alongside its sides a row of trees with bent branches like limbs in a dance Yet the entire scene is saturated calmly In a palette of blues and grays Wyspiański created a melancholic atmosphere mood A landscape of slumbering nature trees gently veiling the ancient seat of Polish kings It is also a vessel of national political meaning a national necropolis 承载ing hopes for the awakening of nature I believed in the restoration of independence Kraków was a source of artistic inspiration for the artist A particularly significant place in his work was occupied by Wawel In the 1990s Wyspiański created at least several more paintings featuring the royal castle in the background and a view of the Planty Wyspiański was seen in Matejki's company as they wandered to Professor Marian's lecture Sokołowskiego an outstanding art historian and museum professional Paluby—on the surface a tranquil scene dancing across the fields— A mood-filled nocturne a view of places often observed by Wyspiański At the center of the image is a frozen puddle On it rose bushes arranged in a row are covered with straw wraps the scene as if straight out of a theater just illuminated by moonlight and streetlamps Around it like stage props are scattered Trees with bare dark branches The image is painted in pastels in a blue-gray tone The motif of Chochoł was developed in Wyspiański's plays The Wedding and The Night of November Chochoł is a figure representing a state of unconsciousness yet also a kind of protection a waiting shield for awakening No wonder that today We know that painting under the title Chochoły Stanisław Wyspiański while studying in Paris ot only broke free from the influence of Master Matejka but also seized the opportunity to develop his greates passion – theater Financial troubles forced Wyspiański to extreme frugality but never He did not give up on going to the opera Among the youngest generation of students who have contact with master Matejka Wojciech Wajs was the owner Professor Matejko had already been giving corrections to professors since the mid-80s He conducted two press reviews per year entering the next room sitting in the portable chair rough the drivers The students heard brief but positive comments They later recalled that even brief contac Being with Matejka was a profound experience for them It was Matejka's authority that gave the Kraków institution its prestige Wajs was a non-degree student at the School of Fine Arts recommended by professors and praised by Matejka He began regular studies as early as 1892 He stood out for his talent and diligence Meeting Matejka was one of the pivotal moments from the episodes of his multifaceted artistic journey Wojciech Wajs painted a self-portrait featuring masks In 1900 upon returning from Paris He was enchanted by the city's atmosphere its energy and the sense of anticipation before Jan Matejko warned of this The artist smiling knowingly at the viewer displays masks A palette brimming with moods and emotions Wajsa's self-portrait can be interpreted as the artist's commentary on the ongoing turmoil In young Polish circles discussions about artistic freedom and independence Jacek Malczews was a frequent guest at Rogalin near Poznań He painted on the invitation of Edward Hrabia-Raczyński They had excellent working conditions there The artist disliked long journeys It happened that he withdrew from them at the last moment They held great value for him Polish landscape The work in the haze is a panoramic composition A simple striped arrangement marks a stretch of overcast sky a dark line of forest a swath of golden gra at the very bottom a narrow stretch of sandy road The artist revealed a fragment of the real world e landscape featuring a road leading from the palace to the church In the center of the compositio In the midst of the crowd a mysterious figure appears—a woman whose hands are bound in handcuffs She drags them forward behind them boys bound by chains who a moment later will vanish into the greenish-brown haze shortcomings In this composition the artist depicted intertwined realms—the spiritual and the earthly Mother Earth is simultaneously a Poland torn apart whose children endlessly perish in the struggle for regaining freedom Jacek Malczewski is the most prolific artist He left behind over 2 000 works Malczewski did not focus on detail He avoided saturated highly contrasting colors He distanced himself from Matejka yet created on a similar foundation works saturated with Polishness One of the final paintings on the exhibition Poland's Power of Image It is a work by Leon Wyczółkowski titled "The Dance " The artist before reaching masterful status Matejka's classes he studied at the Warsaw School of Drawing and later in Munich Between 1877 and 1879 he studied at the Kraków School of Fine Arts Jan Matejko's studio Wyczółkowski's initial interest was historical painting with meticulous precision with meticulously rendered details and masterfully painted textures After departing for Paris he began introducing mpressionistic approaches experimenting with various techniques His greatest passion turned out to be graphics Jan Matejka's work became useful in the conflict with the conservative circle of Stanisław's supporters Leon Wyczółkowski paraphrased Jan Matejka's painting in 1898 when he wanted to comment on the attacks protests against his actions as a professor at the Kraków Academy of Fine Arts Stańczyk Leona Wyczółkowskiego is overwhelmed with despair He pulls something from the box Christmas nativity scenes As Wyczółkowski said the jester once mocked the mighty Gentlemen today weep over dolls Jan Matejko for 20 years of his presence at the School of Fine Arts His work influenced many painters His artworks became a reference point for subsequent generations of artists Most of these wonderful students followed in their master's footsteps dedicating themselves to studying at the School of Fine Arts and later at the Academy of Fine Arts in Kraków Jan Matejko claimed that in Poland where one can throw a stone and hit a talent it's only like a diamond Unpolished it must be shaped —because even the largest diamond is worthless without effort That concludes my story Your visit ends here but I encourage you to explore our museum offerings online and discover the collections of the National Museum In the digital version Thank you for listening to the podcast and staying connected with art