DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45642#0048
44
Witold Dobrowolski
National Museurn in Warsaw, E. Micke-Broniarek
(red.), J. Holzman (przekł.), Warsaw 2006: 152.
Карпова 2008 = Карпова, Т[атьяна] Л.: Генрих
Семирадский, Золотой век, Санкт-Петербург
2008.
Карпова 2015 = Карпова, Т[атъяна] Л.: «Вдохнове-
ние Рима: жанр „античных идиллий” в творчестве
Генриха Ипполитовича Семирадского», Sztuka
Europy Wschodniej. Polscy i rosyjscy artyści i architek-
ci w koloniach artystycznych zagranicą i na emigracji
politycznej w latach 1815-1990, 3 (2015): 17-27.
Карпова 2016 = Карпова, Т[атъяна] Л.: «Фрина
Генриха Семирадского - манифестация
идеи Красоты в художественной атмосфере
1880-х годов», Sztuka Europy Wschodniej. Siemi-
radzki i akademizm, 4 (2016): 165-176.
Уильямс, Огден 1995 = Уильямс, Д[айфри], Огден,
Д[жек]: Греческое золото. Ювелирное искусство
классической эпэохи V-IVвека до н.э., АО Славия,
Санкт-Петербург 1995.
Witold Dobrowolski
The Greek vases in Henryk Siemiradzki^ "idylls"
This group of paintings by Henryk Siemiradzki, the Polish main representative of academic painting, is
usually treated as a series of banał scenes from the everyday life of the Antique world and as mytologized
depictions of Greek and Roman lives, of the happy inhabitants of the fabulous Italy of the golden age,
devoid of any problems.
In virtually all these paintings, vases may be observed - mostly black and red Attic, but also red Etrus-
can and Greek South Italy items, dating mainly from the 5th and 4th centuries В. C. Some of the vases are
easily identified with some verified exhibits, while others - when treated less rigorously - are not. Given
that Siemiradzki explored his “idylls” themes in which the vases constitute an important if not the main
leit motif (fainter of vases, Seller of vases, Afier the bath, The riddle), the vases - owing to the magnificent
execution of their painted decorations - appear to indicate that for the artist they are an important edu-
cational component of the Greeks’ lives, especially for Greek children and adolescents.
Based on Siemiradzkis letter to Petr Fyodorovich Iseyev, in which Siemiradzki writes that in the design
of his paintingFryne at Poseydonsfestioe day in Eleusis, he wanted to convey the “maximum dose of antique
beauty”, the claims advanced that Siemiradzki treated the vases as the “carriers of beauty” which taught
all the social classes of the Greeks of the Classical period the canons of harmonious and serene beauty.
Siemiradzki is also known as a painter of scenes classed as idylls, taking place in the time of Imperial
Romę (Dangerous lesson,A vaseor a womenl, Patricianssiestaj. Yet owing to the richness of the architecture,
the presence of exotic slaves or domestic help, and, finally, to the realist facial features resembling those
from Roman portraits, Roman idylls clearly differ from the idylls of the classical Greek period.
Siemiradzkis painting The Judgement ofParis (the National Museurn in Warsaw) juxtaposes the world
of the Greek followers of beauty with the realist, rich and decadent world of the Romans, for whom beauty
was merely an object of desire or cultural prestige.
Witold Dobrowolski
National Museurn in Warsaw, E. Micke-Broniarek
(red.), J. Holzman (przekł.), Warsaw 2006: 152.
Карпова 2008 = Карпова, Т[атьяна] Л.: Генрих
Семирадский, Золотой век, Санкт-Петербург
2008.
Карпова 2015 = Карпова, Т[атъяна] Л.: «Вдохнове-
ние Рима: жанр „античных идиллий” в творчестве
Генриха Ипполитовича Семирадского», Sztuka
Europy Wschodniej. Polscy i rosyjscy artyści i architek-
ci w koloniach artystycznych zagranicą i na emigracji
politycznej w latach 1815-1990, 3 (2015): 17-27.
Карпова 2016 = Карпова, Т[атъяна] Л.: «Фрина
Генриха Семирадского - манифестация
идеи Красоты в художественной атмосфере
1880-х годов», Sztuka Europy Wschodniej. Siemi-
radzki i akademizm, 4 (2016): 165-176.
Уильямс, Огден 1995 = Уильямс, Д[айфри], Огден,
Д[жек]: Греческое золото. Ювелирное искусство
классической эпэохи V-IVвека до н.э., АО Славия,
Санкт-Петербург 1995.
Witold Dobrowolski
The Greek vases in Henryk Siemiradzki^ "idylls"
This group of paintings by Henryk Siemiradzki, the Polish main representative of academic painting, is
usually treated as a series of banał scenes from the everyday life of the Antique world and as mytologized
depictions of Greek and Roman lives, of the happy inhabitants of the fabulous Italy of the golden age,
devoid of any problems.
In virtually all these paintings, vases may be observed - mostly black and red Attic, but also red Etrus-
can and Greek South Italy items, dating mainly from the 5th and 4th centuries В. C. Some of the vases are
easily identified with some verified exhibits, while others - when treated less rigorously - are not. Given
that Siemiradzki explored his “idylls” themes in which the vases constitute an important if not the main
leit motif (fainter of vases, Seller of vases, Afier the bath, The riddle), the vases - owing to the magnificent
execution of their painted decorations - appear to indicate that for the artist they are an important edu-
cational component of the Greeks’ lives, especially for Greek children and adolescents.
Based on Siemiradzkis letter to Petr Fyodorovich Iseyev, in which Siemiradzki writes that in the design
of his paintingFryne at Poseydonsfestioe day in Eleusis, he wanted to convey the “maximum dose of antique
beauty”, the claims advanced that Siemiradzki treated the vases as the “carriers of beauty” which taught
all the social classes of the Greeks of the Classical period the canons of harmonious and serene beauty.
Siemiradzki is also known as a painter of scenes classed as idylls, taking place in the time of Imperial
Romę (Dangerous lesson,A vaseor a womenl, Patricianssiestaj. Yet owing to the richness of the architecture,
the presence of exotic slaves or domestic help, and, finally, to the realist facial features resembling those
from Roman portraits, Roman idylls clearly differ from the idylls of the classical Greek period.
Siemiradzkis painting The Judgement ofParis (the National Museurn in Warsaw) juxtaposes the world
of the Greek followers of beauty with the realist, rich and decadent world of the Romans, for whom beauty
was merely an object of desire or cultural prestige.