Siemiradzki the unknown

Only in the Regional Museum in Stalowa Wola will it be possible to see an extremely interesting set of works by the outstanding painter, some of which have not been seen in Poland for several decades.

For more than a century there have been fierce discussions around Henryk Siemiradzki and his works. His works have evoked and continue to evoke extreme feelings – from absolute disregard to total admiration. Those who criticized Siemiradzki usually came from the circles of people associated with art. Viewers, on the other hand, expressed completely different views. They adored Siemiradzki unreservedly because of his preferred subject matter of his works and the way he created them, ensuring that the paintings were attractive and the viewer could easily perceive them.

They accused the painter of excessive adherence to the principles of academism and historicism, not looking for his own paths of creative development, stopping, as it were, in half a step while painting, without spreading his wings, which resulted in a correct but not exceptional painting. At the same time, however, it was difficult to deny him professionalism, excellent mastery of the painting technique and perfection of execution. Undoubtedly, Henryk Siemiradzki is one of the few Polish artists who made a truly great international career. Immeasurable crowds came to see his paintings, admired and bought by members of the monarchical families of Russia, Austria and Italy, among others.

He achieved great fame and high property status, far surpassing painters whose works today fetch prices in the millions of dollars (including the Impressionists). He was particularly admired for his monumental canvases, such as “Torches of Nero” and “Christian Dirce”, and the curtains he painted for the theaters of Krakow and Lviv. Although he presented an unchanging commitment to classical canons, he developed his own recognizable style.