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Portrait of Mrs Matlińska.
Håndmalt oljereproduksjon fra $181 27 × 36 cm
Samme størrelse som originalen $239 48 × 60 cm Bestill i original størrelse →
Witold Pruszkowskis mest kjente maleri er Portrait of Mrs Matlińska. (1871), i Nasjonalmuseet i Warszawa, Warszawa. Sammen med Portrait of Włodzimierz de Rosenwerth Rużycki (1865) og Water nymphs. (1877) utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 24 verk av Witold Pruszkowski; de 24 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.
Rangert etter vår popularitetsscore, som kombinerer søk, visninger og bestillinger for hvert verk. Oppdatert November 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
De 2 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Witold Pruszkowski | Malerier fra denne listen |
|---|---|---|---|
 Nasjonalmuseet i Warszawa |
Warszawa | 16 | Portrait of Mrs Matlińska., Portrait of Włodzimierz de Rosenwerth Rużycki, Water nymphs. |
 Nasjonalmuseet i Kraków |
Kraków | 8 | Dawn, Portrait of a Boy, Portrait of Aniela Geppert |
Portrait of Mrs Matlińska. (1871), Nasjonalmuseet i Warszawa, Warszawa. Deretter følger Portrait of Włodzimierz de Rosenwerth Rużycki (1865) og Water nymphs. (1877).
25 år gammel: Portrait of Mrs Matlińska. er fra 1871, og Witold Pruszkowski ble født i 1846.
Portrait of Mrs Matlińska., Portrait of Włodzimierz de Rosenwerth Rużycki, Water nymphs., When the morning glows arise., Fern flower (On St. John's Night)., Portrait of artist's sister., Artist’s son with a dog, Portrait of a girl in a hat., All Souls’ Day, part one of the triptych og Portrait o f Aleksander Gierymski. Rangeringen ovenfor viser årstallet og museet for hvert av dem.
Vår katalog inneholder 24 verk av Witold Pruszkowski, datert fra 1865 til 1895.
De fleste av dem befinner seg i Nasjonalmuseet i Warszawa (Warszawa) og Nasjonalmuseet i Kraków (Kraków). Tabellen ovenfor lister opp museene ett etter ett.
I 1880s: 9 av de 24 verkene på denne siden er fra denne perioden, inkludert Artist’s son with a dog.
Det eldste på denne siden er Portrait of Włodzimierz de Rosenwerth Rużycki (1865), det nyeste Shepherd boy playing the fiddle (1895).
Portrait of Mrs Matlińska., Portrait of Włodzimierz de Rosenwerth Rużycki og Water nymphs. er blant de 16 verkene på denne siden som er i Nasjonalmuseet i Warszawa, Warszawa sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
In the twilight of the nineteenth century, a unique voice emerged from the heart of Europe, weaving together the threads of Romanticism and the burgeoning whispers of Symbolism. Witold Pruszkowski, a painter whose soul seemed to reside in the delicate space between reality and myth, was a master of atmospheric depth. Born in 1846 in Bershad, within the borders of modern-day Ukraine, his early years were spent amidst the vibrant cultural landscapes of Odesa and Kyiv. This diverse upbringing, marked by movement and exposure to various Slavic influences, laid the foundation for an artistic identity that would eventually transcend national boundaries, blending Polish sentiment with a cosmopolitan European sensibility.
Pruszkowski’s journey was one of constant movement and academic refinement. Following his family's emigration to Dieppe in 1860, he eventually found himself in the heart of the art world: Paris. It was here, in 1866, that his formal training began under the guidance of the renowned portraitist Tadeusz Gorecki. This early exposure to classical portraiture instilled in him a meticulous respect for form and likeness, yet his thirst for knowledge led him further afield. He sought the rigorous discipline of the Academy of Fine Arts in Munich, studying under Alexander von Wagner, before returning to the roots of Polish art at the Kraków Academy of Jan Matejko. While he held the great historical painter in high esteem, Pruszkowski possessed a rebellious spirit; he refused to be tethered to the heavy, didactic historical realism of his mentor, choosing instead to pursue a more subjective and poetic path.
As his style matured, Pruszkowski began to develop what critics famously dubbed "Poland's first impressionist" technique. This was not merely a matter of light, but a profound use of color and soft focus to evoke emotion rather than just depict objects. His palette became uniquely nuanced, capable of capturing the hazy, dreamlike quality of memory and folklore. He moved away from the rigid lines of academicism toward an atmospheric symbolism that allowed him to explore the depths of the human psyche and the mysteries of national identity.
His work often drew profound inspiration from Polish literature, particularly the epic prose poems of Juliusz Słowacki. In his illustrations for works like Anhelli, Pruszkowski did not simply illustrate text; he provided a visual commentary on the plight of exile and the spiritual connection between the earthly and the divine. His ability to transform a scene from a literal event into an ethereal experience is perhaps best seen in his treatment of figures—where angels or spirits appear not as thunderous deities, but as gentle, translucent presences that soothe the viewer's soul. This mastery of the Symbolist style allowed him to touch upon universal themes of loss, longing, and transcendence.
Throughout his career, Pruszkowski’s reach extended far beyond the borders of Poland. His exhibitions in Warsaw and Lwów were significant, but his reputation traveled across oceans, reaching audiences in San Francisco and Chicago. He was an artist who could bridge the gap between the local and the global, using the specific imagery of Polish folklore to speak to a universal human condition. His later works, including the celebrated trio Lithuania, Poland, and War, demonstrated his ability to weave national tragedy into a larger tapestry of symbolic meaning.
The end of Pruszkowski’s life was as poignant and sudden as the shadows in his paintings. After years of declining health, he passed away in Budapest in 1896. He left behind a body of work that serves as a vital link between the late Romantic era and the modern Symbolist movement. His legacy remains etched in the soft edges and luminous colors of his canvases, reminding us of a time when art sought to capture not just what the eye sees, but what the heart feels in the quietest moments of reflection.
