DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29195#0127
Unger's pavilion
exhibition we observe Kasprzycki himself (seated, first right), Antoni Brodowski
(standing, fourth from the right), Antoni Blank (last standing, frontal view), and
Aleksander Kokular (centre, profile view, holding a snuff-box). A surviving copy
of the catalogue and the reviews in the daily newspapers were a tremendous help
in the identification of these figures. At the end of the hall, opposite the entrance,
there are two canvasses, Antoni Brodowski’s “Alexander I granting the Univer-
sity of Warsaw its foundation charter”, and Antoni Blank’s “Oedipus at Colonus”.
Today’s observers will also find the manner in which the exhibits are displayed
extremely interesting. They are arranged in three rows according to size and genre.
Kasprzycki managed to finish this extraordinary canvas in time to have it shown in
the same exhibition. Kurier Warszawski commented: The work was done during the
exhibition, and is most interesting, commended by its completion andprecise attention
to detail, indicative ofthe artist'sfamiliarity with this kind ofpainting. It is noteworthy
as a synopsis ofthe pictures shown in thefifth exhibition, fior it will recall the growth of
the fine arts in our country (Kurier Warszawski, 14th July 1828, No. 187).
Unfortunately growth was halted three years Iater. After the fall of the November
Uprising the University and its Fine Arts Department were closed down. Exhibitions
continued to be held, usually in the city hall on Plac Teatralny, but they did not enjoy
the same status, nor were they as popular as before. Not much changed when a new
art college was established in 1844; it was closed down already in the mid-1860s.
Luckily 1860 saw the foundation of the Zach^ta Society, but it did not acquire prem-
ises of its own until 1900.
KATALOG
IIZIEI SZTIIIC PIZKMTH
WYSTAWIO.VYCH NA WIDOK PLBUCZNY
w fiREStyCTT PAZDZmnttlKU 1825 nOKtr.
i- JPortret natnralnty wfelfcoxci przez Pa-
nia Prei’ot przybyta do Warszawy z Pe-
tersburga.
a. Porlret dzifccb’cia naturalney wielkosci przcz
tei.
3. Porlret mnfeyszey wiclkosci przcz
4. Portret przez tg2%
5. ditto
— ditto
—
6. iHtto
—* ditto
_
7. ditto
— ditto
_
8, dilto
— ditto
_
g. Portret z natury oleyno malawany przez Ale-
codntlha Kokular Ponsyonarza Rztjdowego
w Rzytnie.
io. Edyp prowadzwiy przez Anlygon^, prr.ez
iegoi.
»i, Skie, ezyli poniyst do ohrazu Peryklesa hro-
niaecgo Aspazjv, przcd Areopagicin, przez
tcgol.
The last in the series of exhibitions launched at the University in 1819 took place
in 1845. The new art college in operation as of 1844 did not enjoy the privilege of
exhibiting the works of its masters and students. However, political events brought a
change to this situation, difficult for the artists and people of Warsaw. After years of
hegemony in Europe, Russia sustained a severe defeat in the Crimean War, which fin-
ished in 1855. Tsar Nicholas I, the second most notorious enemy and oppressor of the
Polish people (after Catherine II), did not survive the humiliating blow. There were
rumours that the despot, hated not only by the Poles, committed suicide. In the after-
math of the fall of Sebastopol his successor, Alexander II, was forced to relax the iron
grip of oppression (Wawrykowa 1998, pp. 15-21 and 51-59). The Zach^ta emerged
on the crest of the changes, followed two years later, in 1862, by the Muzeum Sztuk
Pi^knych (Fine Arts Museum) and Szkola Glowna - the restored University (Lorentz
1938; Miziolek 2005, pp. 168—185). The former conducted activides until 1875, and
the latter only to 1869. Luckily the Zach^ta managed to survive and pursued its ac-
tivities almost without intermission.
In its statute (Ustawa Towarzystwa Zachfty Sztuk Pi(knych) of 1860 we read that the
Society’s aim is to disseminate the fine arts, and to assist and encourage artists, especially
younggraduates ofthe Warsaw art college. This was to be accomplished by 1. the continu-
ous holding of exhibitions of contemporary art regardless of the artists nationality; 2.
the purchase of the best of the works on exhibition; 3. the publication of graphic works
or reproductions, for distribution to members of the Society as bonuses for paying their
membership fees; 4. the organisation of competitions with prizes for winners; 5. the ac-
cumulation of collections and the purchase of scholarly publications; and 6. the estab-
The Zachgta
Society for the
Encouragement
of Fine Arts
Fig. 111. Catalogue for the University of War-
saw's 1825 art exhibition; BUW
135
exhibition we observe Kasprzycki himself (seated, first right), Antoni Brodowski
(standing, fourth from the right), Antoni Blank (last standing, frontal view), and
Aleksander Kokular (centre, profile view, holding a snuff-box). A surviving copy
of the catalogue and the reviews in the daily newspapers were a tremendous help
in the identification of these figures. At the end of the hall, opposite the entrance,
there are two canvasses, Antoni Brodowski’s “Alexander I granting the Univer-
sity of Warsaw its foundation charter”, and Antoni Blank’s “Oedipus at Colonus”.
Today’s observers will also find the manner in which the exhibits are displayed
extremely interesting. They are arranged in three rows according to size and genre.
Kasprzycki managed to finish this extraordinary canvas in time to have it shown in
the same exhibition. Kurier Warszawski commented: The work was done during the
exhibition, and is most interesting, commended by its completion andprecise attention
to detail, indicative ofthe artist'sfamiliarity with this kind ofpainting. It is noteworthy
as a synopsis ofthe pictures shown in thefifth exhibition, fior it will recall the growth of
the fine arts in our country (Kurier Warszawski, 14th July 1828, No. 187).
Unfortunately growth was halted three years Iater. After the fall of the November
Uprising the University and its Fine Arts Department were closed down. Exhibitions
continued to be held, usually in the city hall on Plac Teatralny, but they did not enjoy
the same status, nor were they as popular as before. Not much changed when a new
art college was established in 1844; it was closed down already in the mid-1860s.
Luckily 1860 saw the foundation of the Zach^ta Society, but it did not acquire prem-
ises of its own until 1900.
KATALOG
IIZIEI SZTIIIC PIZKMTH
WYSTAWIO.VYCH NA WIDOK PLBUCZNY
w fiREStyCTT PAZDZmnttlKU 1825 nOKtr.
i- JPortret natnralnty wfelfcoxci przez Pa-
nia Prei’ot przybyta do Warszawy z Pe-
tersburga.
a. Porlret dzifccb’cia naturalney wielkosci przcz
tei.
3. Porlret mnfeyszey wiclkosci przcz
4. Portret przez tg2%
5. ditto
— ditto
—
6. iHtto
—* ditto
_
7. ditto
— ditto
_
8, dilto
— ditto
_
g. Portret z natury oleyno malawany przez Ale-
codntlha Kokular Ponsyonarza Rztjdowego
w Rzytnie.
io. Edyp prowadzwiy przez Anlygon^, prr.ez
iegoi.
»i, Skie, ezyli poniyst do ohrazu Peryklesa hro-
niaecgo Aspazjv, przcd Areopagicin, przez
tcgol.
The last in the series of exhibitions launched at the University in 1819 took place
in 1845. The new art college in operation as of 1844 did not enjoy the privilege of
exhibiting the works of its masters and students. However, political events brought a
change to this situation, difficult for the artists and people of Warsaw. After years of
hegemony in Europe, Russia sustained a severe defeat in the Crimean War, which fin-
ished in 1855. Tsar Nicholas I, the second most notorious enemy and oppressor of the
Polish people (after Catherine II), did not survive the humiliating blow. There were
rumours that the despot, hated not only by the Poles, committed suicide. In the after-
math of the fall of Sebastopol his successor, Alexander II, was forced to relax the iron
grip of oppression (Wawrykowa 1998, pp. 15-21 and 51-59). The Zach^ta emerged
on the crest of the changes, followed two years later, in 1862, by the Muzeum Sztuk
Pi^knych (Fine Arts Museum) and Szkola Glowna - the restored University (Lorentz
1938; Miziolek 2005, pp. 168—185). The former conducted activides until 1875, and
the latter only to 1869. Luckily the Zach^ta managed to survive and pursued its ac-
tivities almost without intermission.
In its statute (Ustawa Towarzystwa Zachfty Sztuk Pi(knych) of 1860 we read that the
Society’s aim is to disseminate the fine arts, and to assist and encourage artists, especially
younggraduates ofthe Warsaw art college. This was to be accomplished by 1. the continu-
ous holding of exhibitions of contemporary art regardless of the artists nationality; 2.
the purchase of the best of the works on exhibition; 3. the publication of graphic works
or reproductions, for distribution to members of the Society as bonuses for paying their
membership fees; 4. the organisation of competitions with prizes for winners; 5. the ac-
cumulation of collections and the purchase of scholarly publications; and 6. the estab-
The Zachgta
Society for the
Encouragement
of Fine Arts
Fig. 111. Catalogue for the University of War-
saw's 1825 art exhibition; BUW
135