Mikhail Gorstkin Wywiórski, AUTOPORTRET W PLENERZE, 1913

70,5 x 100,5cm - oil, canvas signed p.d.: M. G. Wywiórski Samostrzel 1913.



On the reverse:

- on the upper strip of the loom no. (black marker): 2625/40

- on the bottom slat a storage sticker [?] with no. 12

- next to a rectangular stamp in German: Kulturamt | der Ganhauptstadt Posen | Invent. Nr. 2625/40

- next to the dedication: Verci from the Godmother | 1914.



Samostrzel - a village located in Kujawsko-Pomorskie province, Nakiel county. It is home to a palace and park, the former property of the Bniński family - a well-known magnate family from Wielkopolska, which hosted the artist.
At the time, painters visiting aristocratic residences participated in daily domestic life, celebrations and hunting. One of the paintings, painted during Wywiórski's stay in Samostrzel, also from 1913, we presented to you at auction on March 26, 2016. (cat. item 20).

Michal Gorstkin Wywiórski (Warsaw 1861 - Berlin 1926) studied in Munich between 1883 and 1887; at the Academy under professors Karl Raup and Nikolaus Gysis, and simultaneously in the private studios of Jozef Brandt and Alfred Wierusz-Kowalski. In 1884 he made his debut at an exhibition at the TPSP in Cracow, and also showed his works in Munich, where in 1894 at the Glaspalast international exhibition he was awarded a medal for his painting From the Lithuanian Forest. In 1895 he moved to Berlin, invited by Wojciech Kossak and Julian Fałat to work on the panorama Berezina (1895-1896). He settled in Berlin for a longer period of time, and then stayed in Greater Poland and Warsaw. He also collaborated with Jan Styka on the panorama Battle of Sibiu (1897), and in 1900, together with Kossak, he traveled to Spain and Egypt to make plein air sketches for the intended panoramas Somosierra (not realized) and Battle of the Pyramids (1901). He also traveled to Lithuania, the island of Sylt, Norway, Sweden, the North Sea and the Baltic Sea, painted in Amsterdam, the Crimea and the Caucasus. In his early works, strongly influenced by Brandt and Wierusz-Smith, he painted hunting and genre scenes and paintings with Tartars, Cossacks or Cherokees, which brought him success in the Munich art market. Over time, pure landscape, perceived and painted sensitively and fondly, became the chief subject of his paintings.