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Lot Essay
In 1895 Leon Wyczółkowski arrived in Krakow at the invitation of Julian Fałat (1853-1929), then the newly appointed director of the School of Fine Arts, to assume a position as a lecturer.
Inspired by the rich architecture of the historic Polish capital, the artist dedicated many works to the exteriors, interiors and various details of the city’s churches, with particular attention given to the impressive St. Mary’s Basilica, which crowns Krakow’s main square. The basilica’s altar, carved by Wit Stwosz, is considered a masterpiece of Gothic art, and was a source of inspiration for many artists. Wyczółkowski created several drawings and prints depicting the Wit Stwosz altar, including a lithograph in the collection of the Leon Wyczółkowski District Museum in Bydgoszcz, and the present lot. A renowned colorist, here Wyczółkowski experiments with various shades and pigments to simultaneously achieve a realistic depiction of the detailed carvings as well as a sense of spiritual mystery.
Wyczółkowski would later return to the same subject matter when he strove to find solace in his work after arriving with some difficulty to Warsaw in 1914, at the outbreak of WWI.
He increasingly prioritized his graphic work, abandoning painting during the war years. In the post-war years and for the remainder of his career, Wyczółkowski would continue to work with ink, watercolor and tempera, mainly as studies for his lithographs. 'My graphic works will remain. I attach greater weight to these than to any of my paintings' (quoted in M. Twarkowska, Leon Wyczolkowski, Warsaw, 1962, p. 28).
Inspired by the rich architecture of the historic Polish capital, the artist dedicated many works to the exteriors, interiors and various details of the city’s churches, with particular attention given to the impressive St. Mary’s Basilica, which crowns Krakow’s main square. The basilica’s altar, carved by Wit Stwosz, is considered a masterpiece of Gothic art, and was a source of inspiration for many artists. Wyczółkowski created several drawings and prints depicting the Wit Stwosz altar, including a lithograph in the collection of the Leon Wyczółkowski District Museum in Bydgoszcz, and the present lot. A renowned colorist, here Wyczółkowski experiments with various shades and pigments to simultaneously achieve a realistic depiction of the detailed carvings as well as a sense of spiritual mystery.
Wyczółkowski would later return to the same subject matter when he strove to find solace in his work after arriving with some difficulty to Warsaw in 1914, at the outbreak of WWI.
He increasingly prioritized his graphic work, abandoning painting during the war years. In the post-war years and for the remainder of his career, Wyczółkowski would continue to work with ink, watercolor and tempera, mainly as studies for his lithographs. 'My graphic works will remain. I attach greater weight to these than to any of my paintings' (quoted in M. Twarkowska, Leon Wyczolkowski, Warsaw, 1962, p. 28).