Polish Art

Polish art is varied and rich. Historians differ as to the periodization of the various stages through which Poland passed. It should be emphasized that Poland did experience, as did other European countries, the distinct eras of Romanesque, Gothic, Renaissance, Baroque, Rococo, Impressionism and Modern art and architecture. These periods never have sharp edges in any country; they melt, blur and shade into each other.

Nineteenth century painting, the age of the representative artist in Polish art, endures as a testament to the vitality of Polish culture. It reflected every facet of Polish life. While the architecture of the early periods was influenced by Western concepts, especially in the construction of churches and palaces, painting developed

from the religious "board painting" of the thirteenth century and evolved to the glory of nineteenth century masters who were highly individualistic and secular in their outlook.

Jan Matejko (1838-1893) was Poland's greatest national historical painter. Familiar with history and archeological studies, Matejko decided to portray the honor and glory of the past in massive canvases such as "The Battle of Grunwald." Every detail of costume and background was assiduously and correctly portrayed by the master and his students. Matejko's art had more than one purpose. He wanted to show the Poles their own bright history in the dark days of the Partitions. Visitors to the Vatican Museum are often surprised to view the large canvas by Matejko which was presented as a gift to the Pope.

Stanislaw Wyspianski (1869-1907) was a poet and dramatist as well as a great painter. Though a student of Matejko, Wyspianski developed his own distinct style, influenced by French Impressionism. With deft artistic alchemy, he changed that influence into Polish themes. His portraits are rich in color and expression and he often painted members of his own family. His stained glass windows are truly ingenious and amazingly "modern" for the period of Polis art in which they were created.

During the twentieth century, in an independent Poland, a great deal of activity took place in the pursuit of the arts and continued until World War II. In approximately 1948, the style of Socialist Realism was introduced through Soviet influence, especially in the realm of architecture and in the sculpture of massive monuments. An example of this is the Palace of Culture in Warsaw which is huge and box-like. Since 1955, however, a renaissance of art has taken place from music to drama, and the Polish poster art form has come to be recognized as one of the greatest of its type in the world.

It is a tribute to the Polish people that much Polish art has been preserved or reconstructed. During the holocaust of World War II much was destroyed, some deliberately when, for example, the Nazi army systematically mined and destroyed Stare Miasto, or Old Town in Warsaw. After the war, Old Town was painstakingly recreated to a nearly perfect replica of its former beauty.

The Lazienki Palace, home of the last king, is a jewel of classical eighteenth century design and Polish art, it has been reconstructed. Visitors to the palace may visit an exhibit of the damage inflicted upon the building; after viewing this, the restoration seems a veritable miracle. Wilanow, just outside Warsaw, and the home of King Jan Sobieski, was also painstakingly refurbished. Its parks and gardens are meticulously manicured, and its art collection is truly astounding. These are only two examples out of hundreds.

These projects represent much more than the efforts of official government agencies. They were achieved by the labor of all the people, cutting across all class lines. From the eminent art historians and architectural geniuses to the lowliest farmers, the people literally wrested their heritage back from oblivion.

One famous example of such dedication is the work of noted scholar and art historian Karol Estreicher of the Jagiellonian University. He and his colleagues managed to trace the famous Wit Stwosz altar which the Nazi army had hidden in Nuremberg. It was found and returned to Krakow and is a glorious sight, restored to its original place in St. Mary's Church.

Poles exhibit a reverence, quiet respect and interest in their frequent visits to their own historical sites. When a Pole visits Old Town, for instance, he knows the price which was paid for its reconstruction. That price to him is more than zloty (the Polish monetary unit). It was paid with untold labor and patriotism and a sacrifice in the production of consumer goods and housing.