DOI issue:
Nr. 4
DOI article:Artykuły
DOI article:Kesling, Katarzyna Anna: Aktywno¬ść wystawiennicza Marii Nostitz-Wasilkowskiej w latach 1893-1919*
DOI Page / Citation link:https://doi.org/10.11588/diglit.71007#0631
Aktywność wystawiennicza Marii Nostitz-Wasilkowskiej w latach 1893-1919
617
Exhibition activity of Maria Nostitz-Wasilkowska
in the years 1893-1919
The oeuvre of Maria Nostitz-Wasilkowska is mainly
connected with St Petersburg and Warsaw. She won
critics' appreciation already as a student at St
Petersburg's Academy of Fine Arts, where she was
enhancing her skills under Ilya Riepin and Pavel
Chistyakov. Nostitz-Wasilkowska portrayed impor-
tant personalities from the world of art and politics.
This stage of her artistic output, however, still
requires a thorough research in the Russian archives,
libraries, and museums. In turn, Nostitz-Wasil-
kowska's artistic activity in Poland is much better
known.
Having married the painter Kazimierz Wasil-
kowski in 1893, she moved to Warsaw. Actively
participating in exhibitions, she displayed her works
e.g. at the Society for the Encouragement of Fine Arts
(Zachęta) or Krywult's Salon. Her paintings were first
displayed at the Zachęta in 1893. The artist's presence
at the exhibitions was eagerly reported on, and
positive opinions on the works she was presenting
abounded. The portrait painter was ranked next to
such female painters as Anna Bilińska or Olga
Boznańska. Many of her paintings were reproduced
in "Tygodnik Ilustrowany". Nostitz-Wasilkowska
displayed her works for the last time in 1919.
The popularity of Maria Nostitz-Wasilkowska's
works was in line with the bourgeois taste of the time.
Despite the existence of photography, painted
portraits were still eagerly commissioned. Having
mastered academic skills, a painter could satisfy the
public's expectations. Nostitz-Wasilkowska was one
of the few female artists known outside Poland.
Appreciated in St Petersburg, she continued her
artistic career in Poland. Actively participating in the
artistic life, she went beyond a certain social
boundary, beyond the model of a mother, beyond
hearth and home. She consolidated her position,
which allowed her to make a living with her own art.
Translated by Magdalena Iwińska
617
Exhibition activity of Maria Nostitz-Wasilkowska
in the years 1893-1919
The oeuvre of Maria Nostitz-Wasilkowska is mainly
connected with St Petersburg and Warsaw. She won
critics' appreciation already as a student at St
Petersburg's Academy of Fine Arts, where she was
enhancing her skills under Ilya Riepin and Pavel
Chistyakov. Nostitz-Wasilkowska portrayed impor-
tant personalities from the world of art and politics.
This stage of her artistic output, however, still
requires a thorough research in the Russian archives,
libraries, and museums. In turn, Nostitz-Wasil-
kowska's artistic activity in Poland is much better
known.
Having married the painter Kazimierz Wasil-
kowski in 1893, she moved to Warsaw. Actively
participating in exhibitions, she displayed her works
e.g. at the Society for the Encouragement of Fine Arts
(Zachęta) or Krywult's Salon. Her paintings were first
displayed at the Zachęta in 1893. The artist's presence
at the exhibitions was eagerly reported on, and
positive opinions on the works she was presenting
abounded. The portrait painter was ranked next to
such female painters as Anna Bilińska or Olga
Boznańska. Many of her paintings were reproduced
in "Tygodnik Ilustrowany". Nostitz-Wasilkowska
displayed her works for the last time in 1919.
The popularity of Maria Nostitz-Wasilkowska's
works was in line with the bourgeois taste of the time.
Despite the existence of photography, painted
portraits were still eagerly commissioned. Having
mastered academic skills, a painter could satisfy the
public's expectations. Nostitz-Wasilkowska was one
of the few female artists known outside Poland.
Appreciated in St Petersburg, she continued her
artistic career in Poland. Actively participating in the
artistic life, she went beyond a certain social
boundary, beyond the model of a mother, beyond
hearth and home. She consolidated her position,
which allowed her to make a living with her own art.
Translated by Magdalena Iwińska