COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000432
image_record_id
aahi0000432
Image Record ID
false
Work Title (display):
Two Girls: Helena and Wladyslawa Chielarczyk
Image Title:
full view
Work Dates (display):
1906
Work Dates type:
creation
Work Creator (display):
Olga Boznanska (Polish, 1865-1945)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
Polish painter. She took drawing lessons at home from the age of nine and began regular studies in 1883 under the portrait painter Kazimierz Pochwalski (18551940). She continued her training in 18845 at the Adam Baraniecki School of Art, the only school in Kraków accessible to women at that time. She went to Munich for further study, working in the studio of Carl Kricheldorf (b 1863) in 18867, and in that of Wilhelm Dürr (18571900) in 1888. In 1889 she participated in the Internationale Kunstausstellung in Munich and opened her own studio, which over the next decade became a meeting-place for students. In 1895 she ran a private school of painting founded by Professor Theodor Humml (18641939). However, she declined the headship of a department for young women at the School of Fine Arts in Kraków. In 1898 she settled in Paris. Boznańska's art of this period was characterized by the flattened sense of space in the compositions. Critics put this down to the influence of French art, and Boznańska herself claimed that she owed no more than her studio-technique skills to her Munich tutors. She admired the portraiture of Wilhelm Leibl, but she was inspired more by the compositional arrangements and palette of Velázquez, as well as by Manet's paintings and by Japanese woodcuts. She gradually broadened her palette through her studies in black and ochre tones and olive and emerald greens, which she introduced to her predominantly greying tones. Abandoning traditional perspective, she based her tonalities of receding planes on the contrast or harmony obtained from several closely related colours. An early example of this was Flower Sellers (1889; Kraków, N. Mus.), an intimate scene of three girls in an interior that recedes into the landscape beyond the window. One of Boznańska's favourite subjects was portraiture. The Munich painter Paul Nauen (b 1859) was the subject of a portrait (1893; Kraków, N. Mus.) for which she won a gold medal in Vienna for its skilful composition with dark tones played against a lighter background. A characteristic of her work was the domination of colour over form; she consistently broke it up into tones and half-tones. In her portraiture she eliminated any form of narrative by presenting reality as an external phenomenon. She characterized her models by seizing upon the appropriate colour key for them. In 1898, the year she settled in Paris, Boznańska also became a member of the Sztuka Polish Artists' Society and was elected its chairwoman in 1913. From 1904 Boznańska was a member of the Société Nationale des Beaux-Arts, in which she exhibited from 1896; from 1906 she was a member of the International Society of Sculptors, Gravers and Painters; and from 1911 she was a founder-member of the Society of Polish Artists in Paris. Boznańska took part in many international exhibitionsin Vienna, Munich, Berlin, London, Amsterdam, Rome and Pittsburgh, often as a representative of the French contingent, side by side with Claude Monet, Maurice Denis or Pierre Bonnard, and winning various medals and distinctions. Throughout her life Boznańska painted a number of self-portraits, often introspective and self-critical, for example Self-portrait in a Hat with a White Ribbon (oil on cardboard, c. 1906; Kraków, N. Mus.; see fig.). In general, her portraits contain a significant level of symbolism, with a highly defined figurebackground relation. She contrasted the expression of the sitter with the rest of the composition, which dissolved in the undefined and rather sultry surrounding climate. Her paintings could be compared to faded frescoes. At the end of the 1890s she developed a painting technique using dry areas of oil paint on ungrounded cardboard, without using any varnish during the final stages. Its matt tone deprived its colour of any intensity. She also painted still-lifes, flowers and interiors. In 1910 she was awarded the Légion d'honneur for her artistic activities, and in 1938 she received the Polish order, Polonia Restituta. (Grove Art Online Accessed 2006-07-25)
Work Style Period:
Impressionist
work_styleperiod
Impressionist
Work Style Period
false
Work Subject:
girls
subject
girls
Work Subject
false
Work Subject:
children (people by age group)
subject
children (people by age group)
Work Subject
false
Work Subject:
portraits
subject
portraits
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
97 cm (H) x 69 cm (W)
Work Inscription (display):
Signed; Dated
Work Location (Repository or Site) name:
Muzeum Narodowe w Warszawie
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
MP 398
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Warsaw, Poland
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see