Jacek Malczewski .........(26)
(Radom July 15, 1854 - October 8, 1929 Cracow)

Isia Ukrainian Woman In Front of an Inn

"Isia", c. 1890, oil on canvas, 32.7 x 26.5 cm, Lviv Art Gallery, Lviv, Ukraine
"Ukrainian Woman", 1886, oil on canvas, 47 x 38.5 cm, Lviv Art Gallery, Lviv, Ukraine
"In Front of an Inn", c. 1885-90, oil on canvas, 48 x 63.5 cm, Lviv Art Gallery, Lviv, Ukraine

Nude Male Study Study for the Portrait of Piotr Dobrzanski Portrait study for Our Lady

"Nude Male Study", c. 1877, oil on canvas, 53.5 x 33.5 cm, Lviv Art Gallery, Lviv, Ukraine
"Study for the Portrait of Piotr Dobrzanski", 1877, oil on canvas, 68.5 x 52.5 cm, Lviv Art Gallery, Lviv, Ukraine
"Portrait study for Our Lady", c. 1874, oil on canvas, 52 x 41.8 cm, Lviv Art Gallery, Lviv, Ukraine

Melody of Return Portrait of a Young Woman Self-Portrait with an Apple-Tree Flower

"Melody of Return", 1914, oil on plywood, 80.5 x 97 cm, private collection
"Portrait of a Young Woman", 1919, crayon on paper, 49.5 x 34 cm, private collection
"Self-Portrait with an Apple-Tree Flower", 1910, oil on canvas, 76.5 x 95 cm, private collection

Jacek Malczewski made his only statement in painting; his immensely rich oeuvre remains ever intriguing and artistically uneven. The first stage was the so-called Siberian cycle, illustrating the torment of Polish deportees, portrayed naturalistically or filtered through the mystical poetry of Slowacki. During the Young Poland period, Malczewski created his own unique symbolic vocabulary in which corporeal and robust figures of chimeras, fauns, angels, and water sprites appear both in allegorical portraits, innumerable costume-clad self-portraits, landscapes, genre and religious scenes and, finally, in compositions which do not correspond to any thematic conventions. The art of Malczewski is dominated distinctly by two motifs, recurring and assorted painterly embodiments: the vocation of art and the artist, and death, under the antique form of Thanatos. The Malczewski oeuvre is the most vivid example of an intermingling of folk motifs and an anti-classical, Dionysian vision of antiquity, typical for Polish modernism; the artist achieved a peculiar polonisation of ancient mythology, not only by placing chimeras and fauns in a Polish landscape but also within an historical-national context, which ultimately proved to be regarded as the most important by this pupil of Matejko. [*]

Artist’s paintings in: malarze.com

Artist biography at Wikipedia: http://en.wikipedia.org/wiki/Jacek_Malczewski

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