The conscience of the nation wears red, and every student in Poland knows the stupid bra, bestowed upon him in 1862 by the historian Jan Modzeko with his own personality. Wearing a fiery suit, she wears a distressed hat and the Black Madonna Chestochowa amulet around her neck.
Because, unlike an ardent tile company, a patriot cares about his homeland. Next to it is a letter dated 1533, containing the name of the western Lithuanian part of Samokidia, which was then part of the Polish-Lithuanian Empire, founded in 1386, and revered and glorified in Poland to this day.
However, the photo refers to the defeat of Smolensk by the Grand Duchy of Moscow in 1514, and reveals a long headline: “Stanzyk at a ball in the court of Queen Bona, when news of the defeat of Smolensk arrives.” Munich exhibition “Peace Rising”. 1900 Polish Symbolic”, but avoids titles in the original Polish, making it difficult to understand.
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The Bra was stolen by German occupiers during World War II, and it found its way to Moscow and back to the National Museum in Warsaw in 1956. The situation was especially acute because Poland felt threatened by its two main neighbors to the west and east for some reason. From the third partition of Poland in 1795 until the end of World War I, the country was virtually wiped off the map and was divided between Russia, Prussia, and Austria-Hungary.
In addition to language and Catholicism, art has become more important for maintaining national identity. Modziko has been teaching at the Academy in Munich since 1858. In the years 1820-1914, 300 Polish artists immigrated to “Athena Izara”, mostly painters Olga Posinska or the brothers Maximilian and Aleksander Kermski. In 1890, the latter painted Ludwigsbruck in a blue-pink-purple twilight, scattering the black-clad figures.
Coming home late to buy the famous “bra”
The Bosnian is mentioned in Hypo Kunstall with three images, including the “Girl with the Chrysanthemum”: her features spread out like delicate feathered flowers. So with the opening of the amazing exhibition in the Hypo-Kunstalley in Munich “Stanzik” you can notice a kind of belated return home.
In this concentration, for the first time in Germany, one can find 130 of the most important Polish paintings, many of which were not exhibited abroad. Among them is Medzko student Jesse Malzowski’s “Polish Hamlet” from 1903, which has been hailed as the brand’s central element: ripping magazines out between an old man built by Polish Congress leader Wilopolski and the liberation of the Polish youth in the diaspora.
Constol Documents a Blind Spot in a Western Perspective on ‘Peaceful Rebels’ Curator Nerina Santorius speaks of a ‘disturbing flaw’. Director Roger Dieter was shocked that he could not find anything on loan in any German museum. The Adam Michałewicz Modern Institute in Warsaw with the National Museums of Warsaw, Krakow and Posna rushed to the rescue.
In administrative documents, Poland is referred to as “the country of the Vistula”.
“Peaceful rebels” made sad headlines in the wake of Russia’s invasion of Ukraine. Because Russia, like Ukraine, denied occupied Poland its own cultural identity; From 1880, administrative documents mention only the Vistula region.
Even today, the architecture of Polish cities reveals the state to which they belonged during the 123-year period of occupation. Riots broke out in 1830 and 1863. The Academy in Warsaw closed in 1864, leaving many students abroad.
Josef Simonsky was one of the “Poles from Munich”. His 1875 Indian Summer Book shows a Ukrainian shepherd resting while watching his black dog. Due to its “peasant” nature, this work was especially popular in the People’s Republic of Poland.
Between popular piety and global influence
Peaceful Rebels vacillate between two poles: local landscapes such as the Tatras and popular devotional transformations into sources of spiritual strength, and international influences such as the Paris of Japan or the Fall. Jacek Malczewski proves to be a producer.
[Hypo-Kunsthalle München, bis 7. 8.; Katalog (Hirmer Verlag) 35 Euro.]
His experimental approach to Jesus and his two companions exiled to Siberia is dangerously close to religious kitsch, which since 1896 has believed in “art at court” with its sensual originality. In front of the herd of turkeys, arrayed like musical notes, the animal comforts a weeping peasant playing the flute.
Landscapes reflect the hope of liberation
A special feature of Munich is the “mood landscape”, which was attacked by ideologists such as Arnold Paglen and Franz von Stock. In this way, Julian Format created wonderful panoramic images of snow. Ferdynand Ruszczyc’s work shows “old apple trees” perched in dark colors as a sea-floating cloud or symbol. Many paintings of the dormant autumn-winter landscapes depicted “stateless people” waiting for liberation.
Thanks to the “Young Poland” modernist movement, the ice has melted since 1890, and more vibrant spring forms have entered art: children’s toys, cheerful women, animals, a horse surrounded by flowers. Starting with the extreme idiot Stansik, Polonia happily hovers in the air as a symbol of the sovereign nation.