Wednesday, 13 September 2023

Feliks Michal Wygrzywalski - part 1

Self Portrait 1910

Feliks Michał Wygrzywalski (1875 Premysyl - 1944 Rzeszow) was a Polish painter; remembered primarily for his Orientalist scenes and portraits. He also created a significant number of nudes. Thanks to a scholarship from the Malinowski Foundation, he was able to study at the Academy of Fine Arts Munich from 1893 to 1898. This was followed by some time at the Académie Julian in Paris and a study trip to Italy.

In 1900, he decided to settle in Rome and married a local woman named Rosa Imassa. His studies there consisted largely of copying the Old Masters, but he also created landscapes and nudes. Later, he provided illustrations for the Polish travel magazine, Wedrowiec (The Wanderer), as well as magazines in Germany and Russia.

In 1906, he visited Egypt, creating numerous paintings and sketches for later use. When he came back to Poland in 1908, he lived in Lwów, where he had been commissioned to paint murals at the Chamber of Commerce and Industry. He also did some stage designs. During Worls War I, he moved to Rostov-on-Don and became a drawing professor. He returned to Lwów when the war was over.

He was a frequent participant in exhibitions, but his first personal showing came only in 1932, at the local "Society of Friends of the Fine Arts". During this period, his major work was a series of fourteen paintings, depicting the history of dance, for the sanatorium at the health resort in Krynica-Zdrój. For most of his later life, he maintained his own art salon in Lwów called, in German, "Kunstaustellung" (art exhibit). During the post-war depression, many upper-class people sold their paintings there; often entire collections.

In July 1944, at the approach of the Red Army, he was forced to flee Lwów, leaving all of his possessions behind. He found refuge at a tenement house in Rzeszów, but died only a few months later, from a stroke; possibly the result of an injury he suffered while fleeing. He was buried at the local cemetery, but his grave has not survived.

His works may be seen at numerous museums throughout Poland and Ukraine. In 2012, the city of Lódz organised an exhibition called "Between Capri and Lviv - painting travels by Feliks Michał Wygrzywalski." The following year, the National Maritime Museum, Gdansk, presented some of his works as part of a series on Polish artists and the sea.

This is part 1 of a 5-part series on the works of Feliks Michał Wygrzywalski:


Note: Wygrzywalski often painted variations of a painting that look very similar but have minor  differences.


1886 Gypsy fortune-telling from cards
oil on canvas 73.5 x 53 cm

1894 The General Exhibition of Polish Art in Lviv
lithographic poster
National Museum in Krakow

1898 Apotheosis of Mickiewicz
watercolour
National Museum in Krakow

1898-1902 Reflections
oil on panel
National Museum in Krakow

1902 Fiddler
pencil and white chalk on paper 38 x 53 cm

1904 The rise of songs
gouache and charcoal on cardboard
National Museum in Warsaw

1905 Card players
oil on panel 28 x 44.5 cm

1905 Portrait of a man
oil on canvas 67 x 38.5 cm

c1905 Venetian
Masovian Museum, Płock

after 1906 Fishing on the Nile
Regional Museum in Torun

1906 Capri
oil on board 19.7 x 34.9 cm

1907 Tree on the edge
oil on panel 17 x 28 cm

1907 Wind in the Egyptian desert. Hamsin
oil on plywood 50 x 70 cm

1908 A cart in front of the inn
oil on canvas 54 x 85.5 cm

1908 Coastal rocks
oil on panel 17 x 28 cm

1908 Pageant
watercolour, gouache and ink on cardboard

Mercury - Hermes (Self Portrait) 1910
pastel & distemper on paper 75 x 82 cm
© Mazovian Museum, Plock, Poland / Bridgeman Images

1911 Lago di Ninfa
National Museum in Wrocław

1912 Street after the rain, Rostov
oil 22 x 31.5 cm
Private Collection

1913 Portrait of a man
pastel on paper 8.9 x 7.8 cm

1914 Athena
oil on plywood 58 x 49 cm

1914 Pulling a boat (self-portrait)
oil on canvas 53 x 70 cm

1914-18 Portrait of Yushchenko's Don Cossack
oil on plywood 32 x 45 cm

c1915 Fishermen from Naples
National Museum in Kraków

1917 Charon's boat
oil on lined canvas 62.5 x 93 cm

1918 Carpet seller
oil on plywood 32 x 45.5 cm

1918 In the mine
oil on plywood 36.5 x 50.5 cm

1918 Rest of the fishermen
watercolour and gouache on paper 44.2 x 64 cm

1919 Constantinople (Istanbul)
oil on plywood 22.5 x 31.5 cm

1919 Pipe smokers in Constantinople
watercolour on cardboard 47 x 58 cm

1920 A fisherman repairing nets
watercolour on paper 60 x 80 cm

1920 Street Musicians
oil on canvas 51.2 x 66.2 cm

c1920 Gypsy Girl
oil on canvas
Private Collection

1922 Fishermen
oil on canvas 48 x 90 cm

1922 Heeled
oil on canvas 56 x 77 cm
Private Collection

1922 Landscape
oil on cardboard 22 x 37 cm

1922 Lola
pastel on cardboard 61.5 x 44.2 cm
Private Collection

1922 Mermaids
oil on canvas 98 x 128 cm

1922 Seascape with fishermen
oil on canvas 48 x 92 cm

c1922 A fisherman pulling a net out of the sea
oil on canvas 61 x 81.5 cm


Monday, 11 September 2023

John White Alexander - part 3

John White Alexander, a native of Allegheny City, Pennsylvania, worked as an illustrator in Harper and Brothers in his youth, just as Winslow Homer had done a decade before. In 1877, White joined the  ‘Duveneck boys’ in Munich, where training, much influenced by Hals, Velázquez and Courbet, was freer and looser than that of Paris or Dusseldorf. The work of the Munich artists was often richly brushed in a predominantly dark palette, and although the vogue was brief and was supplanted by the Barbizon and Paris schools, it produced a number of talented Americans, notably Frank Duveneck, William Merritt Chase, John White Alexander, and, John Twachtman.

In 1891, Alexander moved to Paris and over the next ten years gained prominence as an exponent of the current Art Noveau trend. However this was only one of several influences that converged on him and other artists during these years. In the 1890s proponents of the so-called Aesthetic Movement decried the Ruskinian conviction that art must perform a moral and didactic function and instead asserted that art was autonomous and self-referential. Free of literary, narrative conventions, artists could favour mood over story and assert the formal, evocative properties of color and line for their own sake.

This new freedom encouraged a shift in subject matter toward the representation of objects and figures that were simply beautiful in themselves. The culture of the 1890s, gritty and ugly as it appeared, produced such subject matter in abundance. The century’s end had witnessed the explosive growth of commerce, industry, and urban concentration, contributing to the creation of great fortunes in few hands; it also contributed to a radical adjustment in the social roles of women of the upper and middle classes. Deprived of the centrally productive role they had previously performed in a rural society, women were now relegated to a decorative role, serving as beautiful symbols of male wealth and status. As such they were bountifully represented by artists, and their images were eagerly acquired by patrons. It is noteworthy that in the current exhibition of fifty-two paintings there are twenty-four representations of women, almost exclusively upper class, and only one male self-portrait.

Alexander’s many depictions of beautiful women were also colored by his susceptibility to the prevailing Art Nouveau, an elaborately decorative style that emphasises the use of sinuous and sensuous contours. This movement was popularised by the drawings of Aubrey Beardsley, the dramatic posters of Alphonse Mucha, and the stained glass of Louis Comfort Tiffany. Alexander’s work was also touched by the prevailing vogue for symbolism, the visual evocation of an idea, of an emotion through the association of analogous qualities.

This is part 3 of a 3-part series on the works of John White Alexander. For earlier works see parts 1 & 2 also.


1909 Sunlight
oil on canvas 212 x 141 cm

c1909 President Mary Emma Woolley
oil on canvas 125 x 100.6 cm 
Five Colleges and Historic Deerfield Museum Consortium, MA

c1910-11 Portrait of Alonzo Barton Hepburn
oil on canvas 71 x 56.2 cm

1911 Portrait of Stephen Grover Cleveland (1837-1908)
oil on canvas 127 x 101.6 cm

1911 The Ring
oil on canvas 123.8 x 92.4 cm
The Metropolitan Museum of Art, New York

c1911 June
oil on canvas 124.3 x 91.6 cm
Smithsonian American Art Museum, Washington, DC

1912 The Gossip
oil on canvas 160.8 x 137.2 cm
Philadelphia Museum of Art, PA

n.d. A Quiet Corner
oil on canvas 71 x 56 cm

n.d. Autumn in the Forest (New York)
oil on canvas 16 x 20 cm

n.d. Bridge in Ireland
watercolour and ink on paper 17 x 29.5 cm
Brooklyn Museum, New York

n.d. Contemplation
oil on canvas laid down on panel 99 x 63.5 cm

n.d. James McNeill Whistler
charcoal on paper 82.6 x 43.2 cm
The Metropolitan Museum of Art, New York

n.d. Mountain Vista
oil on canvas 47.6 x 57.8 cm

n.d. Onteora
oil on canvas 203 x 109 cm

n.d. Portrait of a girl in a red dress
oil on canvas 100.5 x 54.6 cm

n.d. Portrait of a woman in an off-the-shoulder gown
oil on canvas 101.6 x 57.1 cm

n.d. Portrait of a woman
oil on canvas 61 x 50.8 cm

n.d. "Thirty-Two Pounds Massa"
woodcut on newsprint34.3 x 22.2 cm (framed)

n.d. Portrait of Mercer Beasley
oil on canvas 150.5 x 125.7 cm

n.d. The Green Gown oil on canvas 102.2 x 54.6 cm


n.d. Study of Peonies
oil on canvas 50.2 x 61 cm

n.d. Still Life with quill and ginger jar
watercolour on paper laid down on board 36.2 x 16.5 cm

n.d. Still life with flagon and roses
watercolour on paper 22.9 x 15.2 cm

n.d. Silhouette of a young girl
charcoal on paper 36.8 x 27.3 cm

n.d. Seated woman
pencil, ink and gouache on board 55.9 x 40.6 cm

n.d. Portrait of William O'Brien
pen and black ink and gouache over graphite on off-white wove paper 26.6 xx 20.8 cm
Princeton University Art Museum. PA
Bequest of Dan Fellows Platt, Class of 1895

n.d. Portrait of Michael Davitt, the Irish patriot
pen and black ink and gouache over graphite 18.5 x 15.7 cm
Princeton University Art Museum. PA,
 Bequest of Dan Fellows Platt, Class of 1895