material: oil on board
dimensions: 21 × 32,5 cm
description: Jan Stanisławski is one of the most outstanding Young Poland painters. He was a master of small landscape pictures. At first he produced realist compositions, which were later replaced by Impressionist and finally dynamic works, painted with dash, reflecting his fascination by nature, light and colour. In 1885–1895, Stanisławski stayed in Paris – a Mecca for artists at that time, where, according to Zenon Przesmycki, “the most heated battles over Impressionism” were held. However, as Przesmyski wrote later, "Paris did not revolutionize him, but rather made him aware of” and confirmed him in his painterly experiments. His stay in France, interspersed with trips to Ukraine, resulted in moody landscapes, painted with a palette illuminated by sunlight. It was then that the artist produced this picture of an autumn orchard rendered in a golden and rust tonality. Using tiny dabs of colours, the artist reconstructed the characteristic colour of trees bathed in intense sunlight, casting long shadows, relieved by light colour reflections flickering on the leaves and trunks. Due to this interest in the play of light and the use of technique reminiscent of pointillism, Stanisławski’s composition has something in common with the works of French Impressionists. Urszula Kozakowska-Zaucha
exposition: The Gallery of 19th Century Polish Art in Sukiennice,
The Cloth Hall, 1, Main Market Square
key: Realism, polish impressionism, beginnings of symbolism >>>
dimensions: 21 × 32,5 cm
description: Jan Stanisławski is one of the most outstanding Young Poland painters. He was a master of small landscape pictures. At first he produced realist compositions, which were later replaced by Impressionist and finally dynamic works, painted with dash, reflecting his fascination by nature, light and colour. In 1885–1895, Stanisławski stayed in Paris – a Mecca for artists at that time, where, according to Zenon Przesmycki, “the most heated battles over Impressionism” were held. However, as Przesmyski wrote later, "Paris did not revolutionize him, but rather made him aware of” and confirmed him in his painterly experiments. His stay in France, interspersed with trips to Ukraine, resulted in moody landscapes, painted with a palette illuminated by sunlight. It was then that the artist produced this picture of an autumn orchard rendered in a golden and rust tonality. Using tiny dabs of colours, the artist reconstructed the characteristic colour of trees bathed in intense sunlight, casting long shadows, relieved by light colour reflections flickering on the leaves and trunks. Due to this interest in the play of light and the use of technique reminiscent of pointillism, Stanisławski’s composition has something in common with the works of French Impressionists. Urszula Kozakowska-Zaucha
exposition: The Gallery of 19th Century Polish Art in Sukiennice,
The Cloth Hall, 1, Main Market Square
key: Realism, polish impressionism, beginnings of symbolism >>>