DOI Artikel:
Karpova, Elena V.: Cyprian Godebskiw Petersburgu
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.48915#0107
102
Jeleń a W. Karpo wa
a slightly worn out and wise old man with a dignified
and noble face. Sosnitsky’s likeness as created by
Godebski is remarkably accurate in accordance with
the image held in the memory of people who
freąuently met with the actor.
The contacts enjoyed by the Polish sculptor
within the artistic world of the Russian imperial
Capital is reflected in another of his works:
a bust of the popular St. Petersburg actor Vassily
Samoylov, known from the cast which was to
be placed over his grave. This particular portrait did
not appeal to the critics. One of its reviewers stated
that it offended in its “artificial, pompous size
and lack of simplicity”. The likeness of Samoylov as
preserved in recollections would seem to suggest
that this “theatrical” depiction of the model was
intentionally created by the artist.
Shortly after the Spring exhibition of 1872 the
artisfs beloved wife died. Having already preserved
the features of the beautiful Sophie Servais a number
of years earlier in an effective marble bust, Godebski
now set to work on a tombstone, which he displayed
at the exhibition held in the Academy in 1874.
This tombstone has not been preserved, although
it is possible to imagine its appearance from
a photograph taken around 1910. The effective
concept of the tombstone undoubtedly would have
madę a strong impression on its contemporaries.
At the Academy exhibition of 1874, apart from
his wife’s tombstone, Godebski displayed four
other works, almost all of which had been executed
in marble: a bust of count Vladimir Adlerberg,
as well as medallions depicting likenesses of baron
Ginsburg’s daughter and Madame Armand. In the
opinion of the critics of the time these portraits in
relief were especially achieved works by Godebski.
In 1874 the sculptor also exhibited “an extremely
characteristic head of a drunk peasant”. Godebski’s
interest in such a subject was no coincidence,
sińce the triumphs of Matvey Chizhov’s genre
group titled Peasant in Misfortune (1872), praised
for its originality and expressive depicting of the
figures’ characters, would have still been fresh in
most people’s memory. It is worth bearing in mind
the interest shown in the paintings of Firs Zhuravlov,
even among those who found the themes presented
in them offensive.
The collection of sculptures housed in the
St. Petersburg Russian Museum includes one work
which would appear to be identical to this very sculp-
ture by Godebski. Unfortunately, in the absence
of any known preserved reproduction of A Drunken
Peasant, it is impossible to either confirm or refute
such a hypothesis.
Most of Godebski’s biographies record that
during his stay in Russia he executed a monument
commemorating the Crimean War which was to be
erected in Sebastopol. In all likelihood the artist did
no morę than produce a sketch which was never
carried out. This is not the only inaccuracy to be
found in the St. Petersburg biography of Godebski.
It is often stipulated that the Imperial Academy of
Fine Arts bestowed upon him the title of professor,
even though no confirmation is to be found in
archival materiał or in the Academy’s annual reports.
After 1874 Cyprian Godebski ceased to display
his works in St. Petersburg, although a number
did appear in the city at a later datę, including
the bronze sculpture of The Kiss of Judas, won in
a Warsaw lottery by the St. Petersburg Society
for the Encouragement of the Fine Arts in 1887
It is elear that the so-called St. Petersburg works
were often sent by the artist to Warsaw and other
exhibitions as far afield as Paris, explaining why the
geographic breadth of research is so wide. It only
remains, therefore, to express the hope that it shall
prove possible to fili not just one blank page in the
creative biography of Cyprian Godebski.
Trans lat ed by Peter Martyn
Jeleń a W. Karpo wa
a slightly worn out and wise old man with a dignified
and noble face. Sosnitsky’s likeness as created by
Godebski is remarkably accurate in accordance with
the image held in the memory of people who
freąuently met with the actor.
The contacts enjoyed by the Polish sculptor
within the artistic world of the Russian imperial
Capital is reflected in another of his works:
a bust of the popular St. Petersburg actor Vassily
Samoylov, known from the cast which was to
be placed over his grave. This particular portrait did
not appeal to the critics. One of its reviewers stated
that it offended in its “artificial, pompous size
and lack of simplicity”. The likeness of Samoylov as
preserved in recollections would seem to suggest
that this “theatrical” depiction of the model was
intentionally created by the artist.
Shortly after the Spring exhibition of 1872 the
artisfs beloved wife died. Having already preserved
the features of the beautiful Sophie Servais a number
of years earlier in an effective marble bust, Godebski
now set to work on a tombstone, which he displayed
at the exhibition held in the Academy in 1874.
This tombstone has not been preserved, although
it is possible to imagine its appearance from
a photograph taken around 1910. The effective
concept of the tombstone undoubtedly would have
madę a strong impression on its contemporaries.
At the Academy exhibition of 1874, apart from
his wife’s tombstone, Godebski displayed four
other works, almost all of which had been executed
in marble: a bust of count Vladimir Adlerberg,
as well as medallions depicting likenesses of baron
Ginsburg’s daughter and Madame Armand. In the
opinion of the critics of the time these portraits in
relief were especially achieved works by Godebski.
In 1874 the sculptor also exhibited “an extremely
characteristic head of a drunk peasant”. Godebski’s
interest in such a subject was no coincidence,
sińce the triumphs of Matvey Chizhov’s genre
group titled Peasant in Misfortune (1872), praised
for its originality and expressive depicting of the
figures’ characters, would have still been fresh in
most people’s memory. It is worth bearing in mind
the interest shown in the paintings of Firs Zhuravlov,
even among those who found the themes presented
in them offensive.
The collection of sculptures housed in the
St. Petersburg Russian Museum includes one work
which would appear to be identical to this very sculp-
ture by Godebski. Unfortunately, in the absence
of any known preserved reproduction of A Drunken
Peasant, it is impossible to either confirm or refute
such a hypothesis.
Most of Godebski’s biographies record that
during his stay in Russia he executed a monument
commemorating the Crimean War which was to be
erected in Sebastopol. In all likelihood the artist did
no morę than produce a sketch which was never
carried out. This is not the only inaccuracy to be
found in the St. Petersburg biography of Godebski.
It is often stipulated that the Imperial Academy of
Fine Arts bestowed upon him the title of professor,
even though no confirmation is to be found in
archival materiał or in the Academy’s annual reports.
After 1874 Cyprian Godebski ceased to display
his works in St. Petersburg, although a number
did appear in the city at a later datę, including
the bronze sculpture of The Kiss of Judas, won in
a Warsaw lottery by the St. Petersburg Society
for the Encouragement of the Fine Arts in 1887
It is elear that the so-called St. Petersburg works
were often sent by the artist to Warsaw and other
exhibitions as far afield as Paris, explaining why the
geographic breadth of research is so wide. It only
remains, therefore, to express the hope that it shall
prove possible to fili not just one blank page in the
creative biography of Cyprian Godebski.
Trans lat ed by Peter Martyn