Matejko spent most of his life inKraków. He enrolled at theKraków Academy of Fine Arts at age fourteen, where he studied under notable artists such asWojciech Korneli Stattler andWładysław Łuszczkiewicz and completed his first major historical painting in 1853. His early exposure to revolutions in Kraków and the military service of his brothers influenced his artistic themes. After studying art in Munich and Vienna, he returned to Kraków and set up a studio. He gradually gained recognition, selling key paintings that settled his debts and created some of his most famous works, includingStańczyk andSkarga's Sermon. Matejko's art played a key role in promotingPolish history and national identity at a time when Poland waspartitioned and lacked political autonomy.
At the same time, Matejko's painting style has been criticised as old-fashioned and overly theatrical, labeled as "antiquarian realism". His works often lost their nuanced historical significance when displayed abroad due to the audience's unfamiliarity with Polish history. Matejko's support for the Polish cause was not just through his art; he also contributed financially and materially to theJanuary Uprising of 1863. Later, he became director of the art academy in Kraków, which was eventually renamed theJan Matejko Academy of Fine Arts. A number of his students became prominent artists in their own right, includingMaurycy Gottlieb,Jacek Malczewski,Józef Mehoffer andStanisław Wyspiański. He received several honors during his lifetime, including theFrench Légion d'honneur. Matejko was among the notable people to receive an unsolicited letter from the German philosopherFriedrich Nietzsche, as the latter tipped, in January 1889, into his psychotic breakdown while inTurin.[6][7]
Matejko was born on 24 June 1838, in theFree City of Kraków.[2] His father,Franciszek Ksawery Matejko (Czech:František Xaver Matějka) (born 1789 or 13 January 1793, died 26 October 1860), a Czech from the village ofRoudnice, was a graduate of theHradec Králové school who later became a tutor and music teacher.[2] He first worked for the Wodzicki family in Kościelniki, Poland, then moved toKraków, where he married the half-German, half-Polish Joanna Karolina Rossberg (Rozberg).[2] Jan was the ninth of eleven children. His mother died when he was very young and his older brother, Franciszek had a hand in the manner of his upbringing.[8] He grew up in akamienica building onFloriańska Street.[9] After the death of his mother in 1845, Jan and his siblings were cared for by his maternal aunt, Anna Zamojska.[8]
At a young age he witnessed theKraków revolution of 1846 and the 1848siege of Kraków by the Austrians, two events which put an end to theFree City of Kraków.[2] Two of his older brothers served in both armed conflicts, under GeneralJózef Bem. One of them,Edmund, fell in battle and the other was forced into exile.[2] Matejko attendedSt. Anne's High School, but he dropped out in 1851 because of poor grades. Matejko showed an early artistic talent, but had great difficulty with other academic subjects.[10] He never fully mastered a foreign language.[11] Despite that, and because of his exceptional skill, at the age of fourteen he entered theSchool of Fine Arts in Kraków, where he was a contemporary ofArtur Grottger from 1852 to 1858.[2] His teachers includedWojciech Korneli Stattler andWładysław Łuszczkiewicz.[12] He opted forhistorical painting as his specialism, and finished his first major work,The Shuyski Tsars before Zygmunt III (Carowie Szujscy przed Zygmuntem III), in 1853 (he would return to this theme a year before his death, in 1892.[13][12][14] During this time, he began exhibiting historical paintings at theKraków Society of Friends of Fine Arts from 1855.[14] His graduation project in 1858 wasSigismund I the Old ennobles professors of theJagiellonian University (Zygmunt I nadaje szlachectwo profesorom Uniwersytetu Jagiellońskiego) and proved to be seminal.[15]
After graduation in 1859,[15] Matejko received a scholarship to study withHermann Anschütz at theAcademy of Fine Arts, Munich.[14] The following year he received a further scholarship to study at theAcademy of Fine Arts Vienna, but after only a few days and a major quarrel withChristian Ruben, Matejko returned to Kraków.[16] He set up a studio at his family home inFloriańska Street.[16] It took years before he met with commercial success. He struggled as the proverbial "starving artist", who finally celebrated when he managed to sell theShuyski Tsars... canvas for fiveflorins.[2]
In 1860, against a background of cultural erosion inpartitioned Poland Matejko published an illustrated album,Clothing in Poland (Ubiory w Polsce), a project reflecting his intense interest in the historical record of his nation and his desire to promote it among Polish people and incidentally stir their patriotism.[16] His financial situation improved when he sold two paintings,The assassination of Wapowski during the coronation ofHenri de Valois (Zabicie Wapowskiego w czasie koronacji Henryka Walezego, 1861) andJan Kochanowski over the body of his daughter Urszulka (Jan Kochanowski nad zwłokami Urszulki, 1862), which settled his debts.[17]1862 saw the completion of hisStańczyk, initially received without much acclaim, but in due course becoming one of Matejko's best known works.[18] It marks a manifest departure in Matejko's art, from mere illustrator of history to commentator upon its moral content.[16]
During theJanuary Uprising of 1863, in which he did not directly take part on account of his poor health, Matejko supported it financially, donating most of his savings to the cause, and personallytransporting arms to an insurgents' camp.[16] Subsequently, hisSkarga's Sermon (Kazanie Skargi), May 1864, was exhibited in the gallery of theKraków Society of Friends of Fine Arts, which gained him much publicity.[16] On 5 November that same year, he was elected member of theKraków Scientific Society (Towarzystwo Naukowe Krakowskie) in recognition for his contributions to depicting great national historical themes.[19] On 21 November he marriedTeodora Giebułtowska, with whom he went on to have five children: Beata,Helena, Tadeusz, Jerzy and Regina.[16] His daughter, Helena, also an artist, later helpedWorld War I victims and was awarded theCross of Independence by PresidentStanisław Wojciechowski.[20]
TheKraków Academy of Fine Arts was named in honour of Matejko in 1979, where he served as president for many yearsJan Matejko's atelier
After 1865 Matejko's international recognition grew. HisSkarga's Sermon was awarded a gold medal at the 1865 Paris Salon, prompting CountMaurycy Potocki [pl] to buy it for 10,000 florins.[2] In 1867, his paintingRejtan was awarded a gold medal at theWorld Exhibition in Paris and was acquired by EmperorFranz Joseph I of Austria for 50,000 franks.[21][22] His next major painting was theUnion of Lublin (Unia Lubelska), created during 1867–1869. Acclaimed in Paris, it won Matejko theCross of the Légion d'honneur.[23] and was purchased by theSejm of Galicia.[24] It was followed byStefan Batory atPskov (Stefan Batory pod Pskowem), finished in 1871.[23] In 1872, he visitedIstanbul and upon his return to Kraków finishedTheAstronomer Copernicus, or Conversations with God (Astronom Kopernik, czyli rozmowa z Bogiem), which was acquired by theJagiellonian University.[23] From the 1870s onwards he was aided by a secretary, Marian Gorzkowski, who became his personal assistant, his closest friend, a model for a number of his paintings, and the author of a memoir about Matejko.[24][25]
In 1872, during an exhibition inPrague he was offered the directorship of thePrague Academy of Fine Arts, quickly followed by a similar offer from the Kraków School of Fine Arts.[23] He accepted the Kraków position, and was for many years its principal (rector).[23] In 1874, he finishedZawieszenie dzwonu Zygmunta (The Hanging of the Sigismund bell).[26] In 1878, he produced another masterpiece,TheBattle of Grunwald.[24] That year he received an "honorary grand gold" medal in Paris, while Kraków city council presented him with a ceremonialscepter, as a symbol of his "royal status in fine art".[24] In 1879 came hisRok 1863 - Polonia (The Year 1863 - Polonia), his depiction of theJanuary Uprising. Begun in 1864 as the Uprising was waning, he abandoned the canvas for a number of years, perhaps due to the loss of several close friends and family members in the conflict. It languished unfinished until princeWładysław Czartoryski became interested in acquiring it. To this day it is considered unfinished.[16][27][28]
1880-1882 were taken up with another large work,ThePrussian Tribute (Hołd Pruski) which Matejko gifted to "the Polish nation". It earned him thehonorary citizenship of Kraków.[24] One of the city's squares was renamed Matejko Square.[24] In 1883 he finishedJan Sobieski atVienna (Jan Sobieski pod Wiedniem) which came to be presented toPope Leo XIII as a "gift of the Polish nation".[14][24] Being a member of the delegation delivering the canvas to Rome, Matejko was awarded theKnight Commander with Star of the Order of Pius IX.[29] The painting is on permanent exhibition in theSobieski Room at theVatican Museums.[30] Around that time he also became vocal on a number of political issues, publishing letters on topics such asPolish-Russian relations.[29] He was also very engaged in efforts to protect and reconstruct historical monuments in Kraków.[31] In 1886, he finished a painting relating to French rather than Polish history,The Virgin of Orléans, a portrayal ofJoan of Arc.[29][32]
In 1887 Matejko received an honorary doctorate from theJagiellonian University, and recognition from the Austrian Society,Litteris et Artibus.[29] In 1888 he completedThe Battle of Racławice (Bitwa pod Racławicami).[29] In 1888-1899, to justify his new academic title, he published a group of twelve drawings with accompanying commentary, TheHistory of civilisation in Poland (Dzieje Cywilizacji w Polsce).[26][29] Between 1890 and 1892, he published a series of works on paper, portraying all themonarchs of Poland (Poczet królów i książąt polskich -The kings and princes of Poland, including queens), whose popularity turned them into the canon portrayals of their subjects.[29][33] 1891 marked hisConstitution of the 3 May (Konstytucja 3 Maja).[29] He went on to compose another large scale work,The Oaths of Jan Kazimierz (Śluby Jana Kazimierza), but death intervened.[29] In 1892, a year before his death, he completed hisSelf-portrait (Autoportret).[29]
Matejko suffered from apeptic ulcer, and died in Kraków on 1 November of internal bleeding.[31] His funeral on 5 November drew large crowds, and his death was newsworthy in at least thirty two European newspapers.[37] He was buried in Kraków'sRakowicki Cemetery.[31]
He is counted among the most significant ofPolish painters,[2][3] and considered by many as "Poland's greatest history painter"[5] or as "a cult figure for the nation at large... [already] by the time of his death.".[26]Wilhelm von Kaulbach and his "historical symbolism" style had a profound influence on Matejko. This aimed not so much at an exact representation of past events, but gave the artist freedom to interpret and opened the possibility to blend historical data within a chosen perspective. Matejko's technique in theNeoclassical genre has been praised for its "luminosity, detail and imagination".[26][38]
He succeeded in propagating Polish history, and fostering the memory of an erstwhile historic state lost to the world, while his country remained carved up between three European powers which afforded its Polish natives no prospect of politicalself-determination.[2] His works, disseminated through thousands of reproductions, have become standard illustrations of the many key events inPolish history.[2][3] His 1860 illustrated album,Ubiory w Polsce (Costume in Poland), is seen as a valuable historical reference.[39]
Critics of his work have pointed to his use of traditional, outdated or bombastic painting style, discrediting him for "antiquarian realism" and "theatrical effects".[40] At exhibitions abroad, the nuanced historical context of his works was often lost on foreign audiences.[14][26] Occasionally his paintings would cause controversy. For example,Rejtan offended a number of prominent members of thePolish nobility, who saw the painting as an indictment of their entire social class.[23][26] His paintings were subject to censorship in theRussian Empire.Nazi Germany planned to destroy bothThe Battle of Grunwald andThe Prussian Homage, which the authorities saw as an offence against the German view of history. They formed part of the very many Polish paintings and art which the Germans planned to destroy in theirwar on Polish culture, but thePolish resistance successfully hid both.[41]
Matejko's manor house in Krzesławice, now a museum
Matejko's aim was to focus on major themes in Polish history using historical sources to paint events in minute historical detail.[47] His earliest paintings are purely historical depictions without didactic content.[16] The later works, starting withStańczyk (1862), are intended to inspire the viewer with a patriotic message.[16][48]Stańczyk focuses on the court jester, portrayed as a symbol of his country's conscience, sitting in a chair, against the background of a party - a lonely figure reflecting on war, ignored by the joyful crowd.[26]
Over 80 painters were Matejko's students, many influenced during his tenure as director of theKraków School of Fine Arts, and are called members of the "Matejko School".[51][26][52] Some went on to become members of the brief flowering of theYoung Poland (Młoda Polska) movement, which encompassed literature, music, theatre as well as visual arts and was dissipated byWorld War I. Matejko has been dubbed "Father of Young Poland".[53] Prominent among his students were:
^While the date of 24 June is most commonly given, some recent biographers of Matejko note that there are reliable documents for two other dates: 28 and 30 July.[1]
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. pp. 7–8.ISBN9788377858448.
^abMaria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 12.ISBN9788377858448.
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 11.ISBN9788377858448.
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. pp. 18,22–23.ISBN9788377858448.
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 18.ISBN9788377858448.
^abMaria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 25.ISBN9788377858448.
^Jan Matejko; Jerzy Malinowski; Krystyna Sroczyńska; Jurij Birjułow (1993).Matejko: Album (in Polish). Arkady.ISBN9788321336527.Matejko malował nadto dwukrotnie sceny hołdu carów Szujskich przed Zygmuntem III w 1853 i 1892 roku." [Google Books does not display page number for this book]
^abMaria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 39.ISBN9788377858448.
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 78.ISBN9788377858448.
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 85.ISBN9788377858448.
^Maria Szypowska (2016).Jan Matejko wszystkim znany (in Polish). Fundacja Artibus-Wurlitzer oraz Wydawn. Domu Słowa Polskiego. p. 428.ISBN9788377858448.
^Ciciora, Barbara (2006)."Jan Matejko in München"(PDF) (in German). zeitenblicke. Retrieved5 March 2016. (PDF; 261 kB)
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