Dimensions: 27 x 23 cm (print size)
Inscribed on the mat: '42'
References
See also:
Danuta Godyń, Magdalena Laskowska, Drawings, Watercolors, and Pastels from the Feliks Jasieński Collection in the National Museum in Kraków, Kraków 2016, no. 668 (ill.), p. 268
Irena Kossowska, The Birth of Polish Artistic Printmaking 1897–1917, Kraków 2000, ill. 311, p. 213
Leopold Wellisz, Memoirs and Reflections on My Collection of Polish Prints. Catalog of Drawings and Engravings by Feliks Jasiński and Leon Wyczółkowski in the Collection of the National Museum in Warsaw, Warsaw 1970, no. 49, p. 49
Helena Blum, The Art of Young Poland. Exhibition Catalog, Sopot-Kraków 1965, no. 358, p. 51
Maria Twarowska, Leon Wyczółkowski, Warsaw 1962, ill. 65, p. 29 Krystyna Czarnocka, A Century and a Half of Polish Graphic Art, Warsaw 1962, ill. 112, p. 230
Catalog of the exhibition of Leon Wyczółkowski’s paintings organized on the 100th anniversary of the artist’s birth at the Society of Friends of the Fine Arts in Kraków, 1852–1952, Kraków 1952, no. 143, p. 40 Modern Polish Printmaking, Hieronim Wilder and Co. Polish Antiquarian Bookshop in Warsaw, Warsaw 1913, p. 18
Biography
From 1869 to 1875, he studied at the Drawing Class in Warsaw under, among others, W. Gerson, A. Kamiński, and R. Hadziewicz. He continued his studies at the Academy in Munich, and from 1877 to 1879 attended the State School of Fine Arts in Kraków, where he studied under J. Matejko. From 1895 to 1911, he was a professor at the Academy of Fine Arts in Kraków, and from 1934 onward, he headed the Department of Graphic Arts at the State Academy of Fine Arts in Warsaw. In 1889, he traveled to Paris, where he encountered Impressionism. Initially, he painted historical and genre scenes; later, he turned to realistic portraits and fashionable salon scenes. During his stay in Ukraine from 1883 to 1893, he mainly created scenes depicting fishermen and peasants, exploring the themes of light and color in his work. After 1895, he was briefly influenced by Symbolism, after which he turned toward a distinctive style of colorism. He worked primarily in pastel, watercolor, and ink. He painted atmospheric landscapes—primarily of the Tatra Mountains—architectural monuments, and still lifes, especially flowers. He also created stylistically diverse, insightful portraits. From around 1918, he turned to printmaking (etching and autolithography). His work is considered one of the most outstanding artistic phenomena in Polish art at the turn of the 19th and 20th centuries.
