| Rejtan, or the Fall of Poland | |
|---|---|
| Polish:Rejtan – upadek Polski | |
.jpg) | |
| Artist | Jan Matejko |
| Year | 1866 (1866) |
| Medium | Oil on canvas |
| Dimensions | 282 cm × 487 cm (111 in × 192 in) |
| Location | Royal Castle in Warsaw |
Rejtan, or the Fall of Poland (Polish:Rejtan. Upadek Polski) is anoil painting by thePolish artistJan Matejko, finished in 1866, depicting the protest ofTadeusz Rejtan (lower right) against theFirst Partition of Poland during thePartition Sejm of 1773. Tadeusz Rejtan was a member of thePolish–Lithuanian Commonwealth'sSejm, known for his opposition to the First Partition of Poland in 1773 by physically trying to prevent delegates from leaving the chamber to stop the ratification of the partition. The Sejm was heavily influenced by foreign powers, with delegates being bribed or threatened, whileRussia,Prussia, andAustria justified their annexation of Polish territory as a response to the internal conflicts of theBar Confederation.
Jan Matejko's composition depicts the scene in the manner ofacademichistory painting, placing Rejtan in a central position with a dramatic gesture, surrounded by figures who appear complicit with the foreign demands, including members of the futureTargowica Confederation and Russian ambassadorNicholas Repnin. Despite causing controversy and receiving mixed reviews at the time of its initial display to the public in 1866, Matejko's work was later recognized for its cultural significance in Poland, depicting themes ofpolitical resistance and critique.Emperor Franz Joseph I of Austria subsequently acquired the painting, which was displayed in Vienna until 1920.
ThePolish government bought the work in 1920, and since 1931, except for a brief period during World War II when it waslooted by the Germans, it has been on public display at theRoyal Castle in Warsaw. Both a depiction of a historical moment, and anallegory for the surrounding period ofPolish history, the painting is one of Matejko's most famous works, and an iconic representation of an emotional protest.[1][2]
Tadeusz Rejtan was a deputy in theSejm of the Polish–Lithuanian Commonwealth in 1773, infamously known as thePartition Sejm.[3] The Sejm convened to review the demands of the Commonwealth's three neighbours (theRussian Empire,Prussia and theArchduchy of Austria) in order to legalize their territorial demands, known as theFirst Partition of Poland.[4][5] The Sejm operated under duress, with the immediate threat of foreign forces present in the Commonwealth, and with a significant number of deputies either bribed or threatened by foreign diplomats.[4][5] The three powers officially justified their actions as a compensation for dealing with a troublesome neighbor and restoring order through military intervention in the civil war (theWar of Bar Confederation); in fact all three were interested in territorial gains.[6]
On 21 April that year, Rejtan, in a dramatic gesture at the Sejm, is said to have bared his chest and laid himself down in a doorway, blocking the way with his own body in a dramatic attempt to stop the other members from leaving the chamber where the debate was being held. Leaving the chamber would signify an end to the discussion, and the acceptance of the motion under discussion, i.e., to accept the foreign territorial demands.[3][7]
The painting portrays this scene, although as usual with Matejko's work, it sacrifices some historical reality for more dramatic presentation.[8][9] It serves as anallegory for all threePartitions of Poland (1772, 1793, 1795) and portrays a number of major historical figures of this era.[8][9][10] Rejtan is the most visible, occupying the entire right side of the painting, in the midst of his dramatic pose which has been compared toLiberty Leading the People.[9][10] His position on this painting exemplifies thegolden ratio.[9]
To his left, in the center, are the "traitors", many of them on the Russian payroll, and future members of theTargowica Confederation.Adam Poniński,marshal of the Sejm, pointing in red court dress, either demands that Rejtan leaves or points to the armed Russian guards outside the door; he holds a simple wooden walking stick instead of a more elaborate marshall's staff, which Rejtan stole a day earlier.[9][10] Behind him are bishopIgnacy Massalski and PrinceAntoni Stanisław Czetwertyński-Światopełk.[10] To his right, HetmanFranciszek Ksawery Branicki hides his face in his hands; which likely was Matejko's solution for a prosaic problem—he probably did not have access to a likeness of Branicki.Szczęsny Potocki, with the blue sash, looks to the ground, embarrassed. Behind the overturned chair, his father,Franciszek Salezy Potocki, also embarrassed, drops a quill pen and looks away.[10] Between the two PotockisJacek Małachowski is engaged in discussion withSamuel Korsak,[11] whileKarol Radziwiłł simply observes the situation, amused.[10] On the ground, turned over, lies an armchair, with Branicki's hat and a coin purse, from which the coins spill towards Poniński, alluding to the real reason he is intent on concluding the debate.[10][12]
To the left of the elder Potocki, the seatedprimate of Poland,Michał Jerzy Poniatowski, is engaged in a conversation with the chancellorMichał Fryderyk Czartoryski, both ignoring the disruption.[10] Behind them in the blue waistcoat, KingStanisław August Poniatowski, annoyed, stands up from the throne, wanting to leave, and looking at his pocket watch.[10]
From the gallery, the scene is observed by one of the main architects of the partitions,Russian ambassadorNicholas Repnin.[10] He is seated between two ladies, likelyIzabela Lubomirska and eitherElżbieta Grabowska orIzabela Czartoryska.[9][10] To his right, another important symbol is shown in the painting of Russian TsarinaCatherine of Russia.[10] Finally, in the open doors, behind Rejtan, stands a Russian soldier (although in reality the Sejm was "guarded" not by Russian, but byPrussian troops).[10]
The only person clearly sympathetic to Rejtan is a young man in the middle of the room, holding in his hands a saber and arogatywka, symbolizing the supporters of the anti-RussianBar Confederation, and future insurgents from thePolish Uprisings in theRussian partition.[10]
Matejko began work on this painting in August 1864 and finished it in November 1866.[13] It was one of many paintings portraying key historical moments in thehistory of Poland that he would create over his life.[9][10] Matejko however did not simply illustrate the history, he intended his paintings to have powerful educational and emotional values.[9][14]
The work caused a scandal in contemporary, still-partitioned Poland; it was discussed even before its unveiling.[10] It offended a number of society figures, many tracing direct lineage to the majormagnate families whose members are portrayed in the painting as traitors to the Polish cause.[10] There were a number of critical reviews of the work in the contemporary press, Matejko received anonymous threats, and some aristocrats are said to have considered buying the painting only to destroy it.[10] Some accused him of defeatism, pessimism, exploiting public sentiment over a historical scandal for contemporary publicity; it was thus criticized by notable artists such asJózef Ignacy Kraszewski andCyprian Norwid.[9][15] In Paris, a French-Polish aristocrat,Count Alexandre Joseph Colonna-Walewski, campaigned against including it in an exhibition.[10] The painting, however, quickly garnered supporters, who in turn reproduced modified copies of it, replacing historical figures with major contemporary critics.[10] Responding to the public outcry, Matejko painted a response—a painting titledJudgement on Matejko (Wyrok na Matejkę, 1867), in which he portrayed his execution by some of his most vocal critics.[10][15]
Serious art critics had less emotional, but also mixed, opinions of the work.[10] It was received less favourably byJózef Szujski andStanisław Tarnowski, but praised by paintersHenryk Siemiradzki andArtur Grottger.[10] Comments ofWojciech Korneli Stattler are interpreted by different authors as either praise,[10] or critique.[9] In Paris, displayed atExposition Universelle, 1867 the painting received a gold medal.[15] While in Poland the painting's context and message was clearly understood, the work, displayed in Paris, proved to be too obscure for the audience there, with few understanding the complex, historical context; some French critics interpreted it as a painting of a gambling hall.[10] It is said, however, to have been well understood by the Russian visitors to the French gallery, some of whom are said to have been interested in acquiring the painting, which was commended by Poles as "they bought the real ones, might as well buy the painted ones, too".[10] Eventually, however, the painting was acquired by EmperorFranz Joseph I of Austria for 50,000 franks.[10][13] It was shown at a gallery in Vienna, and eventually ended up at theHofmuseum.[13] Thanks to the efforts of ministerJuliusz Twardowski it was purchased by the government of theSecond Polish Republic in 1920.[13][16] As part of theWawel Royal Castle National Art Collection it has been on a public display in theRoyal Castle in Warsaw since 1931, with the exception of the period ofWorld War II, when it was brieflylooted by the Nazis.[13][17]
The painting is usually interpreted as criticism of the Russian interference in Polish political affairs, and the collaboration of treasonous Polish aristocrats.[18] By the end ofWorld War I it was already seen as a priceless artifact of Polish culture.[16] The painting was positively interpreted incommunist Poland as a symbol of critique of the Polish nobility, blamed for their selfishness leading to the partitions.[9] More recently, the painting has been interpreted as the symbol of solitary protest, and a moral justification of dissent, even when such a protest is known to be futile, ignored by most.[9] It has also been described as an iconic picture of an emotional protest[2] and a symbol of desperate, patriotic protest.[19] In the 1980s the painting inspired aprotest song byJacek Kaczmarski.[20] Over time, the painting has become famous in Poland; Walter M. Cummins notes that the scene from this work was "made familiar to every Polish child by [this] frequently reproduced painting".[3]
Matejko is Poland's greatest historical painter. Among his best-known panoramic compositions areSkarga's Sermon,Rejtan,The Union of Lublin,Batory at Pskov,The Battle of Grunwald,The Prussian Homage, andJan Sobieski at Vienna.
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