Jan Stanislawski (1860 Olszana/Ukraine - 1907 Krakow), Landscape from Podolia, 1898-1900

oil, canvas, 24.5 × 38.4 cm

on the back a sticker from an exhibition at the Society of Friends of Fine Arts in Krakow with a description of the work and a stamp: "Exhibition on the 50th anniversary of the death of Jan Stanislawski, year 195". Also on the back is an inventory sticker of the National Museum in Warsaw. On the canvas in pencil the inscription: "mal. Jan Stanislawski"
Exhibited:
Jan Stanislawski and his School. Exhibition on the fiftieth anniversary of the artist's death, Society of Friends of Fine Arts in Cracow, March-April 1957.

"Of the landscape painters, first and foremost we must speak of Stanislawski. This once ineffable poet of twilight, of Ukrainian orchards, of seersucker pear and apple trees, glowing in the gloom with the whiteness of their trunks and spreading out, as if hands imploringly, their twisted branches; this Boecklin-like almost animator of the world of water and plants, how different and how eloquent he knew how to give physiognomies to his mystical rows of black poplars over the water and to his mulleins; this daredevil, (..); this wielder of the whole range of tones, colors and lights - reveals himself, especially in recent times, as a capital synthesist who does not hesitate to sacrifice all details in order to achieve either epic dales and widths, or incredibly intense light feeries, in which he could rival Claudius Monet, despite the completely different paths they both take. A synthesis, by the way, is the entirety of Stanislavsky's work, to my surprise! The entire series of small-scale images, which are sometimes seemingly a notation of only certain details and moments, leave in the viewer's soul not a memory of the sum of individual impressions, but a unified vision whether of a steppe banklessness, or some sea of light, or the great all-encompassing twilight of visibility. This testifies to Stanislavsky's ability to what should only be called symbolizing, that is, to encapsulate in a single detail a premonition of the whole of nature. These small pictures are great windows on nature."
Z. Przesmycki ("Miriam"), Visual arts, "Chimera" 1901, no. 1, pp. 166-167