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The painting is one of Matejko's best known works [13] and today it is commonly seen as one of his masterpieces, an "education in national history." [ 11 ] [ 14 ] However, it was less well received by his contemporaries, with turn-of-the-century reviews criticizing it for being "too crowded" and with unclear composition; supporters of Matejko's ...
Matejko was born on 24 June 1838, in the Free City of Kraków. [2] His father, Franciszek Ksawery Matejko (Czech: František Xaver Matějka) (born 1789 or 13 January 1793, died 26 October 1860), a Czech from the village of Roudnice, was a graduate of the Hradec Králové school who later became a tutor and music teacher. [2]
The Sermon of Piotr Skarga [1] or Skarga's Sermon (Polish: Kazanie Skargi) is a large oil painting by Jan Matejko, finished in 1864, now in the National Museum, Warsaw in Poland. It depicts a sermon on political matters by the Jesuit priest Piotr Skarga , a chief figure of the Counter Reformation in Poland, where he rebukes the Polish elite for ...
Jan Matejko's self-portrait Jan Matejko (1838–1893) was a Polish painter and academic. He is best known for large canvases devoted to major figures and events in Polish history, such as Stańczyk , Skarga's Sermon , Rejtan , Union of Lublin , Battle of Grunwald , Prussian Homage and Constitution of 3 May .
Introduction of Christianity to Poland, A.D. 966, the first painting in the series. History of Civilization in Poland (Polish: Dzieje Cywilizacji w Polsce) is a cycle of twelve oil sketches on canvas and wood, created by the Polish nominal painter Jan Matejko in 1889 with accompanying commentaries.
The Babin Republic (in Polish Rzeczpospolita Babińska) is an oil painting by Jan Matejko from 1881. [1] This painting depicts a meeting of the Babin Republic, a literary society founded in the sixteenth-century Polish–Lithuanian Commonwealth which left a long-lasting impression on Polish culture.
Matejko went beyond portraying the glory of a historical event and attempted to convey hints of how the country's history would play out in the future. This event was merely a hollow victory that failed to secure Poland's future. [6] Matejko shows that the homage was an empty gesture and that it was Prussia that exploited it rather than Poland. [6]
Whereas Matejko shows Copernicus on top of a tower, in reality his small observatory was probably at ground level, possibly in the garden of his house. [6] Most of Matejko's notable paintings consist of large group scenes. A scene with a single individual such as this, another being Stańczyk, tends to be exceptional in his oeuvre. [2]