DOI issue:
Nr. 2
DOI article:Jackiewicz, Danuta: The art of photography: portrait, landscape and reportage in Polish 19th century photography
DOI Page / Citation link: https://doi.org/10.11588/diglit.18940#0055
'!. Jan Mieczkowski, Actors: Alojzy Żółkowski, Antoni Ostrowski and Wincenty Rapacki in
Sardou's Les ganaches, 1870
Warsaw, from 1870 (Fig. 4).14 Tliere were two unicjue items: collodion emulsion on cotton cloth
tinted with oil paint, which showed likenesses of two actresses, Helena Modrzejewska (Modjeska)
and Salomeą Palińska. Both date from c. 1870 and are the work of Jan Mieczkowski. The second
of these likenesses was accompanied by an identical albumen print. The comparison of the tinted
photograph on caiwas with the sepia print comes decidedly to the advantage of pure photogra-
phic techniąue. In later years the studio of Karoli and Pusch, working for the Administration
of Government Theatres, specialized in photos of actors and actresses.
The group of portrait studies also includes photos which may be described as „ethnic" typcs.
These are not only portraits showing cbaracteristic features and costumes from v„ricus regions
(Fig. 5), hut also likenesses of concrete ReisioES iniwr by name. We lind amor;g tli. m Karfl
Beyer'5 ptatants from Wie vicinity of Warsaw shown in profile — (a rarity in that period), Ig-
nacy Krieger's15 static and rather conventional types of highlanders, Michał Greim's16 figures
fuli of authenticity and unaffectedness, and Henryk Filipowicz's exotic Georgian types. Podolian
14. Juliusz Garztecki, „Sukces i zapomnienie. O Janie Mieczkowskim (1830—1889), fotografiku Warszawskim'', in: Kronika
Warszawy, 1977, no. 2, pp. 51—64.
15. Teresa Kwiatkowska and Andrzej Malik, „Zespól negatywów szklanych z zakładu fotograficznego Rodziny Kriegerów
w posiadaniu Muzeum Historycznego m. Krakowa",in: Krzysztofory, 11, Kraków, 1984, pp. 51—68.
16. Juliusz Garztecki, Mistrz zapomniany. O Michale Greimie (1828—1911) x Kamieńca, Kraków, 1972.
44
Sardou's Les ganaches, 1870
Warsaw, from 1870 (Fig. 4).14 Tliere were two unicjue items: collodion emulsion on cotton cloth
tinted with oil paint, which showed likenesses of two actresses, Helena Modrzejewska (Modjeska)
and Salomeą Palińska. Both date from c. 1870 and are the work of Jan Mieczkowski. The second
of these likenesses was accompanied by an identical albumen print. The comparison of the tinted
photograph on caiwas with the sepia print comes decidedly to the advantage of pure photogra-
phic techniąue. In later years the studio of Karoli and Pusch, working for the Administration
of Government Theatres, specialized in photos of actors and actresses.
The group of portrait studies also includes photos which may be described as „ethnic" typcs.
These are not only portraits showing cbaracteristic features and costumes from v„ricus regions
(Fig. 5), hut also likenesses of concrete ReisioES iniwr by name. We lind amor;g tli. m Karfl
Beyer'5 ptatants from Wie vicinity of Warsaw shown in profile — (a rarity in that period), Ig-
nacy Krieger's15 static and rather conventional types of highlanders, Michał Greim's16 figures
fuli of authenticity and unaffectedness, and Henryk Filipowicz's exotic Georgian types. Podolian
14. Juliusz Garztecki, „Sukces i zapomnienie. O Janie Mieczkowskim (1830—1889), fotografiku Warszawskim'', in: Kronika
Warszawy, 1977, no. 2, pp. 51—64.
15. Teresa Kwiatkowska and Andrzej Malik, „Zespól negatywów szklanych z zakładu fotograficznego Rodziny Kriegerów
w posiadaniu Muzeum Historycznego m. Krakowa",in: Krzysztofory, 11, Kraków, 1984, pp. 51—68.
16. Juliusz Garztecki, Mistrz zapomniany. O Michale Greimie (1828—1911) x Kamieńca, Kraków, 1972.
44