26.8 x 26.5cm - pencil, watercolor, paper signed l.d.: J. Malczewski
On the reverse a circular stamp with the Tarnawa coat of arms and an inscription in the rim: FROM THE COLLECTION OF MARJA MALCZEWSKA.
Even as a child - he sensed the uniqueness of her nature, understood the dreaminess related to his own; he was always worried about her fate, knowing how weak her resilience was in the face of adversities and experiences that life brought her," Jadwiga Puciata-Pawłowska wrote about Malczewski's relationship with Julia (Jacek Malczewski, Wrocław-Warszawa-Kraków 1968, p. 209). His beloved daughter often appeared on his canvases, and the artist also created many of her portraits, both in oil and more intimate ones, such as the offered watercolor.
Jacek Malczewski (Radom 1854 - Cracow 1929) - a prominent representative of Polish modernism painting, began his artistic studies at the School of Fine Arts in Cracow, where in 1872-1875 he studied under Feliks Szynalewski, Władysław Łuszczkiewicz and Jan Matejko, whose studio he attended again in 1877-1879. He then studied at the Paris École des Beaux Arts under E. Lehmann (1876-1877).
In 1880, he traveled to Italy. In 1884-1885, he took part - as a draughtsman - in Karol Lanckoroński's scientific expedition to Pamphylia and Pisidia in Little Asia. At that time he was also in Greece and Italy. In 1885-1886 he stayed in Munich for several months. Upon his return, he settled permanently in Cracow, from where he made further trips to Munich and Italy. In 1896-1900 he taught at the Cracow School of Fine Arts, and from 1911-1922 he was a professor and twice rector of the Cracow Academy. He spent the years 1914-1915 in Vienna and returned to Krakow in 1916. In the last years of his life he stayed mainly in Luslawice and Charzewice near Zakliczyn. He was a co-founder of the Society of Polish Artists "Art" (1897) and a member of the "Zero" group (1908).
In the early period of his career, he painted portraits, genre scenes and - above all - paintings with themes related to the martyrdom of Poles after the January Uprising (Death of Ellenai, Sunday in the Mine, On the Stage, Christmas Eve in Siberia). Later, from the 1890s, he created paintings with symbolic content with intermingled patriotic, biblical, fairy-tale, literary and allegorical-fantastic themes.
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