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Chełmoński w księgach handlowych Goupil & Cie

100%
Matuszczak T.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
637-653
EN
Contrary to the so-far generally shared scholars’ view that the Paris dealer Adolphe Goupil bought a large number of paintings from Chełmoński during his stay in Paris in 1875-87, on the grounds of Goupil and successors’ inventory books it has been possible to ascertain that over the period: 9 September 1876 - 7 June 1881, the actual figure in question stood at 23. The 15-volume Goupil & Cie / Boussod, Valadon & Cie Stock Books from 1846-1919 contain ca. 43,700 inventory entries (box 1-15, ID no.: 1379-912), forming a portfolio titled The Dieterle Family Records of French Art Galleries, 1846-1986 and featured at The Getty Research Institute. Research Library. Special Collections and Visual Resources. Los Angeles, California. (Accession No. 900239). They have also allowed to verify the sums of money paid to Chełmoński for his paintings by Goupil, which actually proved to be lower than previously expected.
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Człowiek wśród zwierząt. Obrazy Józefa Chełmońskiego z lat 90. XIX wieku

88%
Haake M.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
667-689
EN
On the grounds of Chełmoński’s declarations and the opinions of the individuals who knew him it can be concluded that the painter treated both humans and animals as the fruit of Divine creation. Such a conviction was of particular importance over the period of the heated debate on Darwin’s theory of evolution. Hence the question whether this attitude has ever found a visual expression in Chełmoński’s oeuvre? The discussed study analyzes works representing humans and animals painted in the 1890s when on many occasions the artist displayed his perception of the world as being in compliance with the letter of the Holy Scriptures.
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Józefa Chełmońskiego „Droga” ku abstrakcji

88%
Sosnowska J.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
655-666
EN
Upon his return to Warsaw from Paris, Józef Chełmoński submitted for the 1888 exhibition of the Society for the Encouragement of Fine Arts (TZSP) five paintings that substantially differed from his earlier painterly manner. The TZSP committee, however, rejected them all, except for the most conventional one. Chełmoński displayed the rejected works with some other pieces at Aleksander Krywult’s Salon. The four canvases not admitted by the Society were landscapes, two of which had no staffage, a feature rarely encountered in Polish painting. Even many years later, critics referred to them as ‘almost abstract’ works. In the years to follow, Chełmoński painted landscapes, but also genre scenes. It can be clearly seen that the artist was interested in the painting’s flatness, hence his decision to avoid any narration, since the 3-D quality of the presentation is achieved by relating it to story-telling. It was still too soon for flatness of the presentation in Chełmoński’s oeuvre, however the search he undertook in the latter half of the 1880s heading in this very direction makes the artist rank among Modernists.
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Wilki, panny i grajkowie… Analiza porównawcza polskiego malarstwa monachijskiego w XIX w. na przykładzie twórczości Józefa Chełmońskiego i Alfreda Wierusz-Kowalskiego

75%
Ptaszyńska E.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
597-613
EN
Polish artists living outside the country tended to establish informal groups of friends. They would share studios, spend time together, as well as follow closely and amicably each other’s progress, even from afar. Life vicissitudes of Józef Chełmoński and Alfred Wierusz-Kowalski brought them together on several occasions. They both studied at Warsaw Drawing Class; they were both students of Wojciech Gerson’s; the two travelled to Munich to improve their painting techniques; they also met in Paris. Wierusz-Kowalski intently followed the oeuvre of his successful colleague, which can be best testified to by certain analogies in their works. The artists would adopt each other’s motifs, such as wolf attacks, ploughing, a girl resting in the meadow. The paintings usually have their Munich (German) prototype, yet the Polish painters, Chełmoński and Wierusz-Kowalski included, used to set the scenes in Polish landscape, thus turning them into thoroughly native. They composed paintings bearing in mind the sensitivity, artistic refinement, and expectations of his public. While remaining within the category of ‘native’ and ‘local’ art, neither of the painters became involved in the dialogue with their contemporary art which was penetrating new areas of formal and ideological search. The works of Chełmoński and Wierusz-Kowalski exemplified the native cultural code. Their genre and landscape paintings fitted patriotic functions of art, while enhancing self-identification of the artists as well as that of their public.
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Chełmoński i socrealizm

75%
Okoń W.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
691-701
EN
The Author analyses the image of Józef Chełmoński’s oeuvre as shaped by artistic criticism over the period of Socialist Realism in 1949-56. The leading role in the process can be attributed to ‘Przegląd Artystyczny’, an official magazine of the State Institute of Art and Association of Polish Artists, published in Cracow. However, judging on the grounds of a number publications over the period, Chełmoński was not as strongly promoted by the followers of Socialist Realism as, for example, Jan Matejko, since ‘pure landscape’ which he cultivated, particularly in the latter period, never matched the ideology claiming that paintings should feature a human ‘consciously transforming nature’, this shown in the spirit of ‘critical realism’. The painter of the Indian Summer, though included in the circle of artists close to ‘realism’ in art, was never as highly appreciated as, for instance, Józef Szermentowski or Aleksander Kotsis, which may have resulted from Chełmoński’s excessively strong, as judged at the time, bond with the national and patriotic traditions, while not with the tendencies of supranational ‘social criticism’.
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Transgresje wczesnej twórczości Józefa Chełmońskiego. O przedstawieniach kobiet w obrazach z Pracowni w Hotelu Europejskim w Warszawie

63%
Gołąb M.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
583-596
EN
Five or six large-sized paintings by Józef Chełmoński dedicated to the woman and painted at the Europejski Hotel’s Studio in Warsaw in 1875, of which only the Indian Summer is generally known, are the most important artistic manifesto in Polish art of the time. The Romantic paradigm of Polish culture alongside the pressure of Positivist modernity, the experience of Naturalism and Realism, as well as the attractiveness of the allegorical language of art (grounded in the adoration for Grottger, typical of that generation), all these mark the major ideological and painterly horizons of Chełmoński’s art of the period. The artistic effects of the cycle in question (the latter partly reconstructed due to three paintings having disappeared) define the transgressive character of the oeuvre of the Warsaw artist owing to the ‘borderline’ painterly language, bordering on both allegory and symbolism. It allowed to create a radically different statement on the woman versus the contemporarily valid emancipation discourse by evoking in all the paintings of the cycle a figure of a day-dreaming woman
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Malarz ziemi. Józef Chełmoński w kręgu europejskich tendencji pejzażu

63%
Rosales Rodriguez A.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
615-636
EN
The article aims at identifying various references that Józef Chełmoński’s painting made to the widely perceived tradition of 19 th -century European landscape. The analysis does not only include the Polish artist’s direct connections with the group of Munich or Paris painters (both from among the academic circles and unofficial ones), but also the ways the artist drew from the modern aesthetic tendencies, conventions, and visual strategies he became acquainted with when abroad, all of those rooted in the discovery of photography, Realism, Impressionism, Symbolism, or Japonism. The Author also analyses the position J. Chełmoński’s art held in the national discourse of Polish artistic criticism and the myth it implied of a painter of land, attached to native landscape and thence drawing nutritious creative forces, national in content and form, while indifferent to cosmopolitan vogues. This suggestive vision of Chełmoński as a wild instinctive artist, consolidated particularly by Stanisław Witkiewicz, is confronted with the organic concept of Gustave Courbet’s creative process, the searches of the Barbizon School and of its German followers.
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„Babie lato” na obrazie Józefa Chełmońskiego i w poezji Michaliny Chełmońskiej-Szczepankowskiej

63%
Ożóg-Winiarska Z.
Kultura i Edukacja
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2015
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issue 3(109)
219-231
EN
The aim of the article is to present some aesthetic and ideological relationships between different cultural texts - the painting of Józef Chełmoński entitled Babie lato (Indian Summer, 1875) and its poetic ekphrasis with the same title written by Michalina Chełmońska-Szczepankowka (1937). The article describes cultural axiology and poetic sense of the perception of the painting which focuses on the visual theme of Indian summer. The presented interpretation demonstrates that the ideological message of the poem comprises the symbols of the Indian summer inspired by the poetics of the painting, namely praise of freedom, imagination and creative artistic thrust, which people derive directly from both the beauty of their native land and the truth about the order of life imposed by the natural law of the motherland, irrespective of its social and economic situation as well as its historical conditions.
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