Jacek Malczewski .........(3)
(Radom July 15, 1854 - October 8, 1929 Cracow)

Self-Portrait Portrait of Rafal, the Artist's Son Self-Portrait with Death

"Self-Portrait", 1925, watercolour on paper, 33.5 x 48.5 cm, private collection
"Portrait of Rafal, the Artist's Son", c. 1896, oil on canvas on cardboard, 46 x 54 cm, private collection
"Self-Portrait with Death", 1902, oil on canvas, 75.5 x 55.4 cm, private collection

Lady in a Blue Blouse Portrait of Marchese Guilia Asinari Di Bernezzo, wife of Witold Hausner Portrait of an Officer

"Lady in a Blue Blouse", 1917, oil on cardboard, 98.5 x 68 cm, private collection
"Portrait of Marchese Guilia Asinari Di Bernezzo, wife of Witold Hausner", 1912, watercolour, 20.5 x 14 cm, private collection
"Portrait of an Officer", 1914, oil on cardboard on panel, 46 x 55 cm, private collection

Self-Portrait in a Studio Little Shepherd My Portrait

"Self-Portrait in a Studio", 1909, oil on cardboard, 40 x 59 cm, private collection
"Little Shepherd", oil on cardboard, 34 x 48.6 cm, private collection
"My Portrait", 1921, oil on plywood, 42.2 x 56.4 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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