КНІГІ ОНЛАЙН
Аўтаматычна згенераваная тэкставая версія, можа быць з памылкамі і не поўная.
For Vankovich 1830s were the time of maturity, self-confidence and the confidence in his work, with a deeper comprehension of the people. 19 Portraits of that period as a rule depict people in natural poses, among usual things and occupied with the daily business. Nothing disturbs tranquility and peace of their lives (portraits of the Piasecky couple and the Towiansky couple). There were no external vivid emotions and tumultuous events, even such a pompous historical figure like Napoleon, he wrote in a state of deep meditation, trance and maximum concentration («Napoleon by the fire», 1834). Internal tensions of images could be rather discerned and detected by means of expressive painting. The man in the portraits of Vankovich bares not his soul towards the world, but keeps away from it and looks at the world through the prism of his own emotional experiences. Such a perception and a sense of reality are characteristic to a romantic artist. The tragedy of most images created by the artist is in their alienation and loneliness. Romantic, tragic contrast of the man and his environment, the rejection of this environment emotionally enhanced by Vankovich’s appeal to the traditions of a Sarmatian portrait1 that had flourished in the Belarusian, Polish and Ukrainian lands in the XVI— XVII centuries. He introduced the elements of the ancient portrait to his contemporaries. Among these elements may be mentioned some stiffness of poses and pent-up emotions of models, as if already plunged into eternity, and demonstration, in defiance of all contemporary historical circumstances, of gentry class pride that came through in the whole shape of his characters (portraits of Wojciech Puslovsky, the Marshal of the Nobility of Slonim district, and Anton Goretsky, the uncle of the artist). The complicated political situation after the uprising of 1830—1831 and the desire to get acquainted with the current state of European art impelled Vankovich to leave Minsk in July 1839. He lived and exhibited in Berlin, Dresden, Munich, and on September 15, 1841 moved to Paris. 1 Sarmatian portrait is the most distinctive form of national portraiture in the XVII— XVIII centuries, established in the old Polish art at the end of the XVI century and reflecting the uniqueness of the ideology and socio-political system of the country with an elected king, and the dominance of powerful aristocrats. Sarmatian portrait was typical not only for Polish culture but also for the Ukrainian and Belarusian cultures in the XVII—XVIII centuries. 20 In Paris started a new stage of the work of Valenty Vankovich, which did not last long and ended with the death of the artist. Obviously, due to frustration, exhaustion and disease some mystical mood arose in him, supported by a longtime friend of his, the philosopher Andrzej Towiansky. This mood determined, first of all, the choice of themes. So, after living in Paris for six months (from September 1841 to May 1842) and meetings with family and friends after a decade of separation, Valenty was in no hurry to portray anyone. The artist repeated several times the image of Christ, using the type created by Guido Reni, the Italian artist of the XVII century; referred to the image of Napoleon, treating it in a symbolic and allegorical way («Apotheosis of Napoleon», 1841; «Napoleon over the torn map of Europe», 1841); and depicted Adam Mickiewicz, his closest friend, in a full-length on the huge canvas, bent in an awkward position («Extemporizing Mickiewicz»,1841). During that period the artist created only his own portrait. It was written shortly before his death. The image of the artist is full of unspeakable and quiet sadness and at the same time it is full of self-esteem, even some kind of pride and awareness of the dusk of his life. He seemed to have reconciled with the imminent departure to another world, and this self portrait became a farewell to all that was left after him. This piece is one of the most insightful and profound not only in a series of self portraits, but also in the work of Vankovich as a whole. Perhaps, only a portrait of his wife and children, written in 1834 in the artist’s estate could be compared with this self portrait to its lyrical power. The image of a young gentle woman surrounded by children’s figures is shrouded in sun glints and seems to radiate sunshine itself. The artist put into the portrait such tenderness and love that this woman’s image continues to excite people nowadays. The disease of the artist progressed, and on May 12, 1842, having dictated to Adam Mickiewicz his will, Vankovich died in the prime of his life. During his short life he managed to create many works, of which only a tiny part have been preserved. 21 Valenty Vankovich is a remarkable master of portrait of the first half of the XIX century. He portrayed an entire epoch in unique faces. His models are full of life, one can talk to these characters and look into their eyes, they can tell a lot about their time, their political allegiances and spiritual quests, about a quiet family happiness and the pain of separations. His portraits are scattered around the world. They can be found at the museums in Lithuania, Poland, France and Russia. Many works are in private collections of the heirs of those whom the artist depicted in the first half of the XIX century. Probably that’s why until now there is no either a monograph or a comprehensive catalog of the heritage of V. Vankovich. Unfortunately there are no works of Vankovich in Belarus, in the birthplace of the artist. That’s why the National Art Museum of Belarus and its affiliate «The Vankovich house. Culture and art of the first half of the XIX century»2 appealed to the colleagues in other countries while preparing the album in order to get illustrative material. This album is the first attempt to introduce the work of a remarkable artist to Belarusian art lovers. Valenty Vankovich’s biography in dates 1800, May 12 — born at the family estate Kalyuzhitsy in Igumen district of Minsk province (now Berezino district, Minsk region) into a family of Melchior Vankovich and Scholastica Goretska. 1811 — entered the Polotsk Jesuits College, where he studied until 1818. 1818 — enrolled in the University of Vilna to Jan Rustem, Professor of painting. Studied there until 1824 and created numerous portraits of friends who were part of the societies of the Philomaths and the Filarets (of small-format, in ink, gouache, pastel). 2 Opened in 2000 on the 200th anniversary of the artist’s birth in the house of his cousin Edward Vankovich at the former Volosskaya Street (now International St., 33a), which Valenty frequently visited. Here facsimiles of the pictures and documents related to the name of Valenty Vankovich are exhibited, as well as original paintings by his contemporaries. 22 1824 — on the proposal of J. Rustem the Council of Vilna University sent its best student for two years to the Imperial Academy of Fine Arts in St. Petersburg for the improvement of skills. 1825 — marriage to Anel nee Rostotska. 1825—1827 — studied in St. Petersburg, as the result, obtained the Golden Medal for the graduate programme «Heroic Deed of a Kievan in 988» with the right of training abroad. The trip was postponed. The artist remained in St. Petersburg until the end of 1828. 1827, October 24 — the birth of the first child Adam. 1828 — on request of the Society for Promotion of artists he created his most famous painting, «Portrait of Adam Mickiewicz at Judahu Cliff» and displayed it in the Academy of Fine Arts. He created a portrait of the pianist M. Szymanowska. 1829, February — returning to his native Minsk, to the estate of Malaya Slepyanka, where he lived up to July, 1839 and created numerous portraits on orders of the local gentry, among them: portraits of Wojciech Puslovsky and his family, the Piasecky couple and the Towiansky couple, Vincent Gechan Getsevich, the governor of Minsk, and the portrait of his wife and children, etc. 1829, December 24 — the birth of his second son Kasimir. 1839, July — wrote a will in the name of his wife before leaving for the trip abroad. He went to Paris via Munich, Dresden, Berlin. 1840 — participated in an exhibition in Munich. «Self portrait with a stylus» was written. 1841, September — arrived in Paris. Wrote huge canvases full of mystical sentiment: «Napoleon over the torn map of Europe,» «The triumph of Napoleon», «Ecce Homo», «Extemporizing Mickiewicz». 1842 — the last self portrait was created. 1842, May 12 — died at the hands of Adam Mickiewicz, who wrote his last will. 1842, May 14 — buried in the cemetery of Montmartre in Paris. Natalia Sycheva Аўтапартрэт. 1820 Автопортрет. 1820 Self portrait. 1820 Ecce Homo. Около 1842 Ессе Homo. Around 1842 Апафеоз Напалеона. 1841 Апофеоз Наполеона. 1841 The apotheosis of Napoleon. 1841 Аўтапартрэт. Да 1840 Автопортрет. До 1840 Self portrait. Prior to 1840 Партрэт сястры Станіславы Гарноўскай. 1830-я Портрет сестры Станиславы Горновской. 1830-е Portrait of the artists sister Stanislawa Gornovska. 1830s Партрэт Караліны Тавяньскай. 1830-я Портрет Каролины Товяньской. 1830-е Portrait of Carolina Towianska. 1830s Партрэт Анджэя Тавяньскага. 1830-я Портрет Анджея Товяньского. 1830-е Portrait of Andrzej Towiansky. 1830s MR* Партрэт дамы ў зялёным. 1830-я Портрет дамы в зеленом. 1830-е Portrait of a lady in green. 1830s Партрэт невядомага ў жоўтай камізэльцы. 1836 Портрет неизвестного в желтом жилете. 1836 Portrait of an unknown in a yellow vest. 1836 Партрэт Зоф’і Пясецкай з дзецьмі. 1837 Портрет Софии Пясецкой с детьми. 1837 Portrait of Sofia Piasecka with the children. 1837 Партрэт Казіміра Пясецкага. 1836 Портрет Казимира Пясецкого. 1836 Portrait of Kasimir Piasecky. 1836 Партрэт жонкі мастака з дзецьмі. 1834 Портрет жены художника с детьми. 1834 Portrait of the artists wife with their children. 1834 Напалеон ля вогнішча. 1834 Наполеон у костра. 1834