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  1. 2 Ptaszynska E.

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'DIE KRAFTPROBE' (TRIAL OF STRENGHT). 200th ANNIVERSARY OF THE ACADEMY OF FINE ARTS IN MUNICH ('Die Kraftprobe' (Próba sil). Jubileusz 200-lecia Akademii Sztuk Pieknych w Monachium)

100%
Ptaszynska E.
Muzealnictwo
|
2008
|
issue 49
316-328
EN
In 2008 Munich celebrated the 850th anniversary of the town and the 200th anniversary of the local Academy of Fine Arts. The accompanying exhibition entitled 'Die Kraftprobe' (Trial of strength) and presenting 200 years of the Academy's accomplishments, was shown at Hause der Kunst from 30 May to 31 August 2008. The show opened with a painting by Franz Defregger, aptly entitled 'Die Kraftprobe' and depicting a Tyrolean youth testing his strength by lifting a boulder and surrounded by village observers. This confrontation of the forces of tradition and modernity involved academic recognition for historical painting and the thematic interests of the artists. It also reflected a clash of art undergoing a process of democratisation and its elevation, characteristic for academic currents. The oeuvre of artists connected with the Academy was echoed in the emergence of national identity and the historical genre, typical for the nineteenth century. This was the prime reason why young artists from Eastern, Central and Northern Europe decided to study in Munich. The showroom opening the exposition displayed also works by several women, such as Maria Electrina von Freyberg, Louise Seidler, Elisabeth Ney, or Barbara Popp. All originate from the first stage in the development of the Academy when female students were permitted to attend courses (up to 1840). The presentation of art created at the Academy of Fine Arts in Munich was initiated with a display composed of works by Julius Schnorr von Carolsfeld, Peter von Cornelius, Carl Schnorn, Wilhelm von Kobell, Johann Georg von Dillis, Karl Piloty and his students as well as Gyula Benczura and Alexander Wagner. The K. Piloty studio was the destination of many Poles, and Wagner taught some sixty Polish students. The exposition was comprised of national showrooms: Polish, Hungarian, Bulgarian, Baltic, etc. The conspicuous features of the Polish showroom included subtle themes, excellent workshop skills, sophisticated colouristic solutions, and the ambience or dynamics of particular works, such as 'Stanczyk' by Jan Matejkio, five water colours from the Resurrection series by Zofia Stryjenska or the compositions by Alfred Wierusz-Kowalski, Jozef Brandt, Aleksander and Maksymilian Gierymski, Wladyslaw Czachorski and Julian Falat. The visitor was struck by the prevalence of the historical genre - paintings by Croatian, Slovenian, Bulgarian and Serbian artists as a rule portrayed the most dramatic and bloody fragments of their national history. All told, the exposition was dominated by nineteenth-century painting featured under the slogan:'Anziehung und Ausstralung' (Attraction and radiation), although it also included canvases by Vassily Kandinsky, Paul Klee, Franz Marc, or Giorgio de Chirico, testifying that the Munich Academy welcomed the new artistic currents of the twentieth century. The organisers did not ignore the Nazi period, controversial in the history of the Academy, and featured a bronze head of Adolf Hitler by Bernhard Bleeker and other purely propaganda works. Modern art was shown under the motto: 'Leuchtturme und Irrlichter' (The lighthouse and ignes fatui), which evoked assorted quests and misleading paths.
2
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THREE GENERATIONS OF THE WIERUSZ-KOWALSKIS. STYLES, EPOCHS, LANDS (Trzy pokolenia Wieruszów-Kowalskich. Style, epoki, kraje)

100%
Ptaszynska E.
Muzealnictwo
|
2007
|
issue 48
95-109
EN
The collections of the Regional Museum in Suwalki contain a set of works by three generations of the Wierusz-Kowalskis: Alfred (1849-1915), Czeslaw (1882-1984) and Joanna (1930-2005). The oldest representative of the family was born in Suwalki and died in Munich. Czeslaw, his oldest son, was born in Munich and died in Warsaw. Joanna, Czeslaw's second wife, was born in Wilno and died in Paris. The paintings found themselves in the Suwalki Museum thanks to contacts between its long-term director, Zygmunt Filipowicz, and Czeslaw Wierusz-Kowalski, established in the course of work on an exhibition commemorating the fiftieth anniversary of Alfred's death. The years-long links between members of the family and the town produced successive donations and the sale of souvenirs and works. A permanent exposition of works by Alfred Wierusz-Kowalski - the only such show in Poland - was inaugurated in 1976. The displayed artist is a leading representative of Polish painters working during the second half of the nineteenth century in Munich. The show of oil paintings, sketches, drawings, and nineteenth-century graphic reproductions was accompanied by furniture and painting equipment - an easel, a table, and a stool from the artist's Munich flat and studio. The Suwalki collections include also photographs, diplomas, letters and other documents related to the oeuvre and personal life of the painter. The originally deposited works and souvenirs of Alfred Wierusz-Kowalski were donated by Czeslaw and became a permanent part of the Museum collections. Many of Czeslaw's compositions were also offered by his wife, Helena. The efforts made by the present-day Museum director, Jerzy Brzozowski, and his contacts with the granddaughter of the Munich-based artist became the reason why the painter and conservator donated more than ten of her oil works as well as drawings from the most recent stage in her oeuvre. The unusual 'Wierusz' exhibits are not only composed of numerous purchased or donated works, documents, and souvenirs but also outline one a half century in the history of Polish art, nation and state. Born in different countries, students at the Munich, Paris and Warsaw academies, the authors died in the capitals of three states, thus personifying the complicated history not only of their family but also of Europe. Their oeuvre encompasses nineteenth-century realism represented by Alfred, Czeslaw's colourism, and the lyrical abstraction of Joanna. Each member of this talented family was compelled to confront his works not only with European and Polish art, but also with his/her predecessor. The Suwalki collection remains an interesting contribution to art-related studies.
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