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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]
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]
The Constitution of 3 May 1791 [a] (Polish: Konstytucja 3 Maja 1791 roku) is an 1891 Romantic oil painting on canvas by the Polish artist Jan Matejko.It is a large piece, and one of Matejko's best known.
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 ...
The interpretation of the painting was greatly influenced by Marian Gorzkowski's feuilleton Hints to Jan Matejko's latest painting "Kościuszko at Racławice", finished in April 1888. [2] [3] Tadeusz Kościuszko is dressed in a fashionable uniform tailcoat, identical to that in Michał Stachowicz's painting Kościuszko's Oath on the Main Square.
[5] [9] Sigismund, the patron of the Sigismund Bell, and his son Sigismund August, were Polish kings that inspired other works of Matejko, including The Babin Republic (1881) and The Founding of the Lubranski Academy in Poznań (1886). [1] Sigismund I's portrayal on the Hanging... painting is the one where Matejko shows him with pride and ...
On the canvas, Matejko depicted Kleparski Square, filled with crowds of people.In the background, the buildings of Krakow, flooded with the light of the rising sun, are shown: on the right, the Barbican, St. Florian's Gate and in the distance, the towers of St. Mary's Church, on the left, behind the gate there is the silhouette of the university collegiate church of St. Florian.
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]