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Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied — 45.2012

DOI issue:
Nr. 2
DOI article:
Murawska-Muthesius, Katarzyna: The myth of bohemianism in nineteenth-century Warsaw
DOI Page / Citation link:
https://doi.org/10.11588/diglit.51715#0200

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6. Henryk Villati: Artiste Who Hâve Gained Récognition,penál on páper. Repro: The Olszyňski Album, V, No. 520 B. Warsaw, National
Museum.


by the painter and lithographer Jan Feliks Piwarski,
who imparted on his students his own prédilection
towards the local and the ordinary against the neo-
classical topics.
Apart from Gierdziejewski and Kostrzewski,
other Art School students joined the company
meeting at Olszyhski’s place, where, as reported
by Witkiewicz, “every day they would get together and
entertain themselves by making drawings; their conversation
was incessantly and instantaneously illustrated, crystalli^

of mid-nineteenth-century Europe: Gierdziejewski went to
Dresden and then to Rome, Gerson won a scholarship to St.
Petersburg, to continue his studies in Paris under Cogniet,
Pillati belonged to the first substantial wave of artists choo-

ing into a visual shape before the sound of words quietened
down and vanished” One of the pillars of the group
was Henryk Pillati, a painter, but also a most skil-
ful draftsman and caricaturist [Fig. 6]. Pillati, who
completed his éducation in Munich and later also
studied in Paris, was perhaps the most adventur-
ous in his choice of topics, not avoiding overtly
political thèmes, such as the funeral of the victims
of anti-Tsarist démonstrations in Warsaw in 1861.
He was also planning a sériés of four allegorical
sing Munich, the most populär destination of Polish artists
in the 1860s and the 1870s, and later Paris, while Kostrzewski
and Kossak opted just for Paris.

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