DOI issue:
Nr. 4
DOI article:Artykuły
DOI article:Rosales Rodríguez, Agnieszka: Malarz ziemi: Józef Chełmoński w kręgu europejskich tendencji pejzażu
DOI Page / Citation link:https://doi.org/10.11588/diglit.70770#0647
636
Agnieszka Rosales Rodriguez
Painter of the Land.
Józef Chełmoński within European Tendencies
in Landscape Painting
The article aims at identifying various references
that Józef Chełmoński’s painting made to the widely
perceived tradition of 19th-century European
landscape. The analysis does not only include the
Polish artist’s direct connections with the group of
Munich or Paris painters (both from among the
academic circles and unofficial ones), but also the
ways the artist drew from the modern aesthetic
tendencies, conventions, and visual strategies
he became acquainted with when abroad, all of
those rooted in the discovery of photography,
Realism, Impressionism, Symbolism, or Japonism.
The Author also analyses the position Józef Cheł-
mońskim art held in the national discourse of Polish
artistic criticism and the myth it implied of a painter
of land, attached to native landscape and thence
drawing nutritious creative forces, national in
content and form, while indifferent to cosmopolitan
vogues. This suggestive vision of Chełmoński as
a wild instinctive artist, consolidated particularly by
Stanisław Witkiewicz, is confronted with the organic
concept of Gustave Courbet’s creative process, the
searches of the Barbizon School and of its German
followers.
Translated by Magdalena Iwińska
Agnieszka Rosales Rodriguez
Painter of the Land.
Józef Chełmoński within European Tendencies
in Landscape Painting
The article aims at identifying various references
that Józef Chełmoński’s painting made to the widely
perceived tradition of 19th-century European
landscape. The analysis does not only include the
Polish artist’s direct connections with the group of
Munich or Paris painters (both from among the
academic circles and unofficial ones), but also the
ways the artist drew from the modern aesthetic
tendencies, conventions, and visual strategies
he became acquainted with when abroad, all of
those rooted in the discovery of photography,
Realism, Impressionism, Symbolism, or Japonism.
The Author also analyses the position Józef Cheł-
mońskim art held in the national discourse of Polish
artistic criticism and the myth it implied of a painter
of land, attached to native landscape and thence
drawing nutritious creative forces, national in
content and form, while indifferent to cosmopolitan
vogues. This suggestive vision of Chełmoński as
a wild instinctive artist, consolidated particularly by
Stanisław Witkiewicz, is confronted with the organic
concept of Gustave Courbet’s creative process, the
searches of the Barbizon School and of its German
followers.
Translated by Magdalena Iwińska