DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23229#0178
CHOPIN AND THE VISUAL ARTS
artists of all eras in conversation, assembled in groups on either hand of
a central elevation of white marble steps, on the topmost of which there
is a broad throne occupied by the architect Ictinus, the painter Apelles
and the sculptor Phidias, symbolizing the unity of those three arts. To the
left and right Leonardo da Vinci, Raphael, Michelangelo, Murillo, Poussin,
Veronese and others are recognisable. A female element, also introduced
in this vast composition, consists of the genii or Muses, symbolising the
arts, depicted as idealised female figures leaning against the balustrade of
the steps. The model for the composition was the famous Apotheosis of
Homer by Jean Auguste Dominique Ingres. It is known that Chopin liked
this painter, who was one of the most gifted followers of Raphael; the au-
thor of the School of Athens in the Vatican Stanza della Segnatura was
adored by Delaroche as well. Our hypothesis is that Chopin's predilection
was caused by the fact that growing up in Warsaw, he was familiar with
painters such as Blank and Brodowski, whose style was close to that of
Ingres, Delaroche and Couture. As has already been noted, Brodowski
was educated in Paris and knew personally both David and Ingres; some
scholars believe he may have been David's pupil11.
While living for a decade in the University of Warsaw campus, Chopin was
able to visit not only the small University picture gallery and the Fine Arts ex-
hibitions, but also the huge collection of plaster casts of ancient sculptures
on permanent display in a building which stood less than fifty meters from
the doors of his home. There is no mention of this collection in the compos-
er's extant letters; however, his visit to the Antiken Kabinet in Vienna in Au-
gust 1829 and the letter referring to Hercules arretant la chevre dAmalthee
may echo his interest in the University collections12. While there is no proof
of Chopin's visits to the collection of plaster casts, luckily there is one letter
which confirms that he started frequenting fine arts exhibitions while still in
Warsaw; then he continued to visit them in Paris. That single letter is to Jan
Biatobtocki and was written in the autumn of 1825:
[...] the exhibitions are opening in Warsaw, both in the Town Hall and
in the University. I don't tell you what is where, because as yet there's
nothing to see and I haven't seen anything; but very soon my goggles
will behold jolis tableaux, jolis portraits, jolies machines, bons pianos,
bons draps, in short quelque chose d'excellent; my paw shall describe
them for you, and the messenger [...] shall bring the description13.
The letter with the promised description has not been preserved, but the
evident enthusiasm for both exhibitions - one in the Town Hall with jolies
machines and bons pianos and the other at the University with some jolis
tableaux, jolis portraits, jolies machines and quelque chose d'excellent -
leaves no doubt that such events were of importance to the young com-
poser. His interest in the visual arts was stimulated by the drawing lessons
he had as a student of the Lycee; apart from that, Biafobtocki took great
interest in painting and that Frederick himself knew some painters person-
ally is clear from his letters. He would have seen also the exhibition organ-
ised in 1828, which was depicted by Wincenty Kasprzycki in the painting
now in the National Museum in Warsaw (fig. 182). All in all, the letter of 1825
demonstrates how Chopin's personality and interests were influenced in
his youth by his acquaintance with artists.
192
artists of all eras in conversation, assembled in groups on either hand of
a central elevation of white marble steps, on the topmost of which there
is a broad throne occupied by the architect Ictinus, the painter Apelles
and the sculptor Phidias, symbolizing the unity of those three arts. To the
left and right Leonardo da Vinci, Raphael, Michelangelo, Murillo, Poussin,
Veronese and others are recognisable. A female element, also introduced
in this vast composition, consists of the genii or Muses, symbolising the
arts, depicted as idealised female figures leaning against the balustrade of
the steps. The model for the composition was the famous Apotheosis of
Homer by Jean Auguste Dominique Ingres. It is known that Chopin liked
this painter, who was one of the most gifted followers of Raphael; the au-
thor of the School of Athens in the Vatican Stanza della Segnatura was
adored by Delaroche as well. Our hypothesis is that Chopin's predilection
was caused by the fact that growing up in Warsaw, he was familiar with
painters such as Blank and Brodowski, whose style was close to that of
Ingres, Delaroche and Couture. As has already been noted, Brodowski
was educated in Paris and knew personally both David and Ingres; some
scholars believe he may have been David's pupil11.
While living for a decade in the University of Warsaw campus, Chopin was
able to visit not only the small University picture gallery and the Fine Arts ex-
hibitions, but also the huge collection of plaster casts of ancient sculptures
on permanent display in a building which stood less than fifty meters from
the doors of his home. There is no mention of this collection in the compos-
er's extant letters; however, his visit to the Antiken Kabinet in Vienna in Au-
gust 1829 and the letter referring to Hercules arretant la chevre dAmalthee
may echo his interest in the University collections12. While there is no proof
of Chopin's visits to the collection of plaster casts, luckily there is one letter
which confirms that he started frequenting fine arts exhibitions while still in
Warsaw; then he continued to visit them in Paris. That single letter is to Jan
Biatobtocki and was written in the autumn of 1825:
[...] the exhibitions are opening in Warsaw, both in the Town Hall and
in the University. I don't tell you what is where, because as yet there's
nothing to see and I haven't seen anything; but very soon my goggles
will behold jolis tableaux, jolis portraits, jolies machines, bons pianos,
bons draps, in short quelque chose d'excellent; my paw shall describe
them for you, and the messenger [...] shall bring the description13.
The letter with the promised description has not been preserved, but the
evident enthusiasm for both exhibitions - one in the Town Hall with jolies
machines and bons pianos and the other at the University with some jolis
tableaux, jolis portraits, jolies machines and quelque chose d'excellent -
leaves no doubt that such events were of importance to the young com-
poser. His interest in the visual arts was stimulated by the drawing lessons
he had as a student of the Lycee; apart from that, Biafobtocki took great
interest in painting and that Frederick himself knew some painters person-
ally is clear from his letters. He would have seen also the exhibition organ-
ised in 1828, which was depicted by Wincenty Kasprzycki in the painting
now in the National Museum in Warsaw (fig. 182). All in all, the letter of 1825
demonstrates how Chopin's personality and interests were influenced in
his youth by his acquaintance with artists.
192