DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29195#0131
Secrets of the Past
Pictures
that stirred
hearts
Fig. 116. Jan Matejko, 'The Battle of Grun-
wald", detail, 1878, oils on canvas; MNW
Since the opening ofhis permanent exhibition in Count Krasihski ’s house on the cor-
ner of the Wierzbowa and the Niecata three years ago, Mr. Unger has made a very
substantial contribution to reviving the arts, on the one hand offering the public an
excellent opportunity to see the latest achievements of our artists working at home and
abroad, and on the other handfacilitating the selling of artworks thanks to his services
ofbrokerage. He has now moved hisgallery to a new building, put up at his own expense
in the court of Count Stanisiaw Potocki 's property at Number 15 in the Krakowskie
Przedmiescie. In this custom-built gallery, splendidly illuminated by day through its
glass dome roof and in the evening by electric lights, there are now two of Matejko’s
best masterpieces on show, “The Battle ofGrunwald”and “The Prussian Homage” (Fig.
116). This is how Henryk Struve commented on Unger’s achievements, in one of
the issues of a well-known Warsaw magazine (Kiosy, No. 832, XXXV, 1882, p. 72).
Earlier No. XXXIV of the same magazine had written that Varsovians were as ex-
cited about Matejko's second canvas as they had been about “The Battle of Grunwald”,
and that shortly the second masterpiece by the great artist from Krakdw would be up
nextto “Grunwald”in Mr. Unger’sgallery, therebypresentingan excellent sequel to the
picture showing the crushing defeat ofthe Teutonic Order. All who see it are immedi-
ately spellbound by this painting. Crowds of visitors are thronging Mr. Unger’s gallery
to see “The Prussian Homage”; they stand before it overawed and excited, as if under
the influence ofa magicalpower emanatingfrom the picture andgiving them a strange
waking dream (Klosy, XXXIV, V, 1882, p. 315; Figs. 117-119).
The raptures over these paintings were no doubt attributable to Matejko’s genius
and the patriotic message in his works; but their success was also due in part to the
modern facility and manner in which they were presented. Unger’s gallery provided
the best possible conditions for viewing. On fine days a stream oflightflows in, giving
a bright atmosphere free ofshadows; only in such conditions is the richness ofthe colours
to be observed in full bloom, the outlines of the drawing are made more distinct, and
justice is done to the whole composition, giving it a tantalisingpalpability that ampli-
fies its effect (Kurier Warszawski, 1882, No. 24, p. 30). But the biggest novelty was
the use of electric lighting, which made visiting possible in the evening hours. The
press was in raptures, emphasising that this type of illumination in no way cur-
tailed the reception of the artistic quality of the pictures, and indeed, viewed in the
white light provided by electricity the paintings seemed better visible than in the
natural light of a winter’s day. Electric lighting had just been installed to illuminate
“The Battle of Grunwald”. The masterpiece could now shine forth in a riot ofcolour
and composition. . . . Nothing had changed about thepainting itself, only the Light, that
second master and assistant to all creators ofthe visual arts, had brought out to the fuii
all the marvellous effects in Matejko’s masterpiece. . . . Four Large electric lamps cast
their light on the painting, enveloping the rest ofthe room in a gentle half-shadow. . . .
The shapes and outlines ofthe figures and accessories stand out with astonishing clarity
(Kurier Warszawski, 1882, No. 24, p. 3).
Everything seemed to be going smoothly, when suddenly problems appeared and
a minor scandal erupted. Here is Ignacy Balinski’s account: Gracjan Unger, the
nephew ofjozef the printer and long-standing publisher ofthe popular calendar in a
green cover with an abundance offacts and Literary information at a price of50 kopecks
(a similar calendar issued by Jan Jaworski competed with it), was extremely ingenious
and active. He ran a newspaper and advertising agency in the theatre building on the
Wierzbowa street-side. Then he had hisprovisionalpavilion built to exhibit noteworthy
140
Pictures
that stirred
hearts
Fig. 116. Jan Matejko, 'The Battle of Grun-
wald", detail, 1878, oils on canvas; MNW
Since the opening ofhis permanent exhibition in Count Krasihski ’s house on the cor-
ner of the Wierzbowa and the Niecata three years ago, Mr. Unger has made a very
substantial contribution to reviving the arts, on the one hand offering the public an
excellent opportunity to see the latest achievements of our artists working at home and
abroad, and on the other handfacilitating the selling of artworks thanks to his services
ofbrokerage. He has now moved hisgallery to a new building, put up at his own expense
in the court of Count Stanisiaw Potocki 's property at Number 15 in the Krakowskie
Przedmiescie. In this custom-built gallery, splendidly illuminated by day through its
glass dome roof and in the evening by electric lights, there are now two of Matejko’s
best masterpieces on show, “The Battle ofGrunwald”and “The Prussian Homage” (Fig.
116). This is how Henryk Struve commented on Unger’s achievements, in one of
the issues of a well-known Warsaw magazine (Kiosy, No. 832, XXXV, 1882, p. 72).
Earlier No. XXXIV of the same magazine had written that Varsovians were as ex-
cited about Matejko's second canvas as they had been about “The Battle of Grunwald”,
and that shortly the second masterpiece by the great artist from Krakdw would be up
nextto “Grunwald”in Mr. Unger’sgallery, therebypresentingan excellent sequel to the
picture showing the crushing defeat ofthe Teutonic Order. All who see it are immedi-
ately spellbound by this painting. Crowds of visitors are thronging Mr. Unger’s gallery
to see “The Prussian Homage”; they stand before it overawed and excited, as if under
the influence ofa magicalpower emanatingfrom the picture andgiving them a strange
waking dream (Klosy, XXXIV, V, 1882, p. 315; Figs. 117-119).
The raptures over these paintings were no doubt attributable to Matejko’s genius
and the patriotic message in his works; but their success was also due in part to the
modern facility and manner in which they were presented. Unger’s gallery provided
the best possible conditions for viewing. On fine days a stream oflightflows in, giving
a bright atmosphere free ofshadows; only in such conditions is the richness ofthe colours
to be observed in full bloom, the outlines of the drawing are made more distinct, and
justice is done to the whole composition, giving it a tantalisingpalpability that ampli-
fies its effect (Kurier Warszawski, 1882, No. 24, p. 30). But the biggest novelty was
the use of electric lighting, which made visiting possible in the evening hours. The
press was in raptures, emphasising that this type of illumination in no way cur-
tailed the reception of the artistic quality of the pictures, and indeed, viewed in the
white light provided by electricity the paintings seemed better visible than in the
natural light of a winter’s day. Electric lighting had just been installed to illuminate
“The Battle of Grunwald”. The masterpiece could now shine forth in a riot ofcolour
and composition. . . . Nothing had changed about thepainting itself, only the Light, that
second master and assistant to all creators ofthe visual arts, had brought out to the fuii
all the marvellous effects in Matejko’s masterpiece. . . . Four Large electric lamps cast
their light on the painting, enveloping the rest ofthe room in a gentle half-shadow. . . .
The shapes and outlines ofthe figures and accessories stand out with astonishing clarity
(Kurier Warszawski, 1882, No. 24, p. 3).
Everything seemed to be going smoothly, when suddenly problems appeared and
a minor scandal erupted. Here is Ignacy Balinski’s account: Gracjan Unger, the
nephew ofjozef the printer and long-standing publisher ofthe popular calendar in a
green cover with an abundance offacts and Literary information at a price of50 kopecks
(a similar calendar issued by Jan Jaworski competed with it), was extremely ingenious
and active. He ran a newspaper and advertising agency in the theatre building on the
Wierzbowa street-side. Then he had hisprovisionalpavilion built to exhibit noteworthy
140