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The Gallery of 19th-Century Polish Art in the Sukiennice

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The Sukiennice building houses one of the largest permanent exhibitions of 19th-century Polish painting and sculpture in Poland. At the end of the eighteenth century, in addition to its existing purely practical functions related to warehousing and commerce, the Sukiennice gained symbolic significance. The balls and receptions held there in honour of prominent personas visiting the city, and celebrations of numerous patriotic events meant that this building, located in the very centre of Krakow, became a truly important place for the national culture. The present shape and unique representative function of the Sukiennice were gained after its restoration, which was carried out in the years In , the rooms on the first floor of the Sukiennice building were chosen as the seat of the newly established National Museum. Its collection was initiated by Henryk Siemiradzki, who offered his painting Nero's Torches to the new institution. The exhibition in the Sukiennice, comprising four rooms — The Bacciarelli Room. Realism, Polish Impressionism, Beginnings of Symbolism — offers a historic and substantive context of the works of art gathered in the National Museum in Krakow, though it does not pretend to present the entirety of artistic phenomena occurring between mid-eighteenth and late nineteenth century. The art of the Enlightenment is represented in the gallery through various artistic trends of the second half of the eighteenth century: from the continuators of the late Italian Baroque and French rococo painting, to the inspirations with English portrait painting and neoclassicism. This Polish king was the patron of the arts and his cultural policy, promoting new understanding of national identity, indicated important areas of development in Polish art, still important in the nineteenth century: education of artists in Poland at an academic level, and visualization of national historiography. For the purpose of the exhibition, Romanticism is understood as an artistic phenomenon covering the period from the end of the eighteenth century to the mid-nineteenth century, and occurring in varying degrees and varied forms. On Polish soil, the phenomena which heralded it appeared after the loss of independence in , while the period of its proper development began in the s. The peak of Romanticism coincided with the period of the November Uprising, while its decline corresponded to the years after the fall of the January Uprising. As in the case of European Romanticism, Polish Romanticism did not form a uniform type in the field of arts. Its most important characteristic was its patriotic-independent character, which encompassed the discourse about the need for national art. Romantic contents are expressed in works of various forms. Due to their typical — or, for a change, unique — nature, these works constitute interesting solutions in terms of content and style. In the nineteenth century, academies of fine arts shaped European painting and sculpture by teaching fairly universally accepted principles, the implementation of which was the aspiration of lecturers at art academies in Krakow and Warsaw. The most important ideas assumed the belief that the purpose of art is to present the ideal beauty born in the mind of the artist under the influence of observation and correction of nature, and the division of art into genres ranked from the highest — allegories and history painting, through portraits and genre painting, to the underappreciated landscapes and still lifes. Therefore, the Around the Academy Room presents historical paintings and portraits which in the academic hierarchy of genres, and hence in the Paris Salons and other exhibitions, were valued most. Polish artists were interested in history painting and sculpture because it gave them an opportunity to present themes dedicated to the national past, greatly desired by Polish viewers and critics. Works particularly valued by the audience included large paintings with lofty themes such as The Lamentable Apostolic Mission by Wojciech Gerson or Nero's Torches by Henryk Siemiradzki. Realistic tendencies appeared in Polish art in the s. In terms of paintings and sculptures, realism consisted mainly in attempts to immortalise forms and phenomena observed in nature, devoid of stylization and idealization. The criterion of beauty was replaced by the criteria of truth and objectivity. Observation of reality, combined with the desire to remain faithful to nature resulted in the emphasis on the fleetingness of time. The themes included contemporary topics referring to both important and ordinary, everyday, insignificant events. An ordinary man became the protagonist, portrayed in all his physical and psychological diversity. Landscapes and genre painting were also flourishing. Witkiewicz, A. Chmielowski, A. The so-called Polish Impressionism constituted only a partial adaptation of the assumptions of the genre, less extreme than the French version. It assumed a combination of realism and naturalism with certain elements of Impressionist imaging brighter colour tone, painting with pure colors, divisionism. This part of the exhibition also features works created at the end of the century, combining Symbolism and the aesthetics of Expressionism. The 'Young Poland' art by Jacek Malczewski, laden with symbolism, constitutes an ideological conclusion of the exhibition, introducing the viewer into the Gallery of 20th-Century Polish Art, located in the Main Building of the National Museum in Krakow. Available for the physically impaired WiFi. Save a tree. 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