The exhibition, which opened to the public on September 27, features 119 paintings and drawings, gathered from the museum’s collection as well as loans from over 20 institutions and private collections both in Poland and abroad.
Chełmoński, born in 1849, was deeply influenced by his upbringing in the Polish countryside.
His childhood experiences shaped his artistic vision, leading him to depict, with remarkable realism, rural life in both Poland and Ukraine—neither of which existed as an independent country at the time.
His early works presented in the exhibition show him as a painter who chronicled village life, showing both the peasant's perspective and that of the landed gentry.
This theme of rural life remained a constant throughout his career.
The exhibition highlights some of Chełmoński’s most famous works.
Ewa Micke-Broniarek, co-curator of the exhibition alongside Wojciech Głowacki, said that Chełmoński’s paintings belong to the canon of Polish 19th-century art and showcase his mastery of rural scenes.
One of the most significant works on display is Before the Tavern from 1877, painted during Chełmoński’s stay in Paris.
This canvas, which was well received at the prestigious Paris Salon, is a vivid portrayal of a rustic village scene: a thatched tavern surrounded by muddy roads, a simple cart, and a roadside cross, all under a gloomy sky.
Art historians often cite this painting as one of Chełmoński’s finest, praising his sensitivity to light and atmosphere.
Chełmoński’s work was noted for its raw honesty in depicting rural life, sometimes drawing mixed reactions from critics.
French writer Émile Zola admired the realism in works such as A Case Before the Village Mayor and Thaw in Ukraine, which were exhibited in 1876.
Zola remarked on the “stamp of truth” in Chełmoński's work, a sentiment echoed by many other critics who found his depictions both exotic and moving.
Horses played a significant role in Chełmoński's oeuvre, often depicted in motion in scenes of galloping sleighs or rural hunts.
His love for horses, coupled with his talent for capturing their power and grace, is perhaps best exemplified by Four-in-Hand, a monumental painting from 1881.
The dynamic energy of the galloping horses in this painting, with their manes flying wildly, was considered daring at the time, but it won over both critics and the public.
In addition to these iconic works, the exhibition also includes quieter, more contemplative pieces from later in Chełmoński’s career, such as Storks (1900) and Indian Summer (1875).
These paintings, created after the artist’s return to Poland, reflect a softer, more introspective style.
Storks, painted in the village of Kuklówka, where Chełmoński spent his final years, shows a peaceful rural scene of a man and a boy watching the birds, depicting the connection between humanity and surrounding nature.
The exhibition, a result of extensive research conducted since 2022, offers a comprehensive look at Chełmoński’s legacy. It runs at the National Museum in Warsaw until January 29.
(rt/gs)
Source: PAP