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The sketch is probably a portrait study of Marian Gorzkowski. It shows a middle-aged man, with a thin face covered with wrinkles depicted as a bust. The man has a beard and moustache. He is probably dressed in a frock coat, which was a formal visiting outfit introduced in the 19th century. This is indicated by the widened lapels of the double-breasted long jacket, which was then popular among men, visible in the portrait. However, the artist focused primarily on rendering the facial features of the portrayed person.

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The sketch is probably a portrait study of Marian Gorzkowski. It shows a middle-aged man, with a thin face covered with wrinkles depicted as a bust. The man has a beard and moustache. He is probably dressed in a frock coat, which was a formal visiting outfit introduced in the 19th century. This is indicated by the widened lapels of the double-breasted long jacket, which was then popular among men, visible in the portrait. However, the artist focused primarily on rendering the facial features of the portrayed person. Gorzkowski’s face expresses concern and sadness, accentuated by frowning eyebrows and a reflection shown in the eyes of the model. The identification of the man as Marian Gorzkowski is supported by the handwritten dedication attached by Matejko, which proves their acquaintance. It is known that the artist made many occasional caricatures of his friend and a pencil portrait of his wife. The acquaintance between Gorzkowski and Matejko dates back to 1876, when Gorzkowski, fascinated by the latter, presented the painter with a ring and a cap for his collection of historical accessories and costumes.

Bibliography:

  1. E. Łepkowski, Marian Gorzkowski,[w:] Polski Słownik Biograficzny, t. VIII, Wrocław–Warszawa–Kraków 1959–1960, s.335-336.
  2. J. Krawczyk, Matejko i historia, Warszawa 1990.
     
Elaborated by Agnieszka Jankowska-Marzec PhD (Academy of Fine Arts in Kraków),
Licencja Creative Commons

This work is licensed under a Creative Commons Attribution 3.0 Poland License.

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Marian Gorzkowski, a friend of Jan Matejko

Marian Gorzkowski was born in Biała Cerkiew [Ukr. Bila Tserkva] in 1830 in Ukraine. He studied at the University of Kiev. He travelled to Greece and Italy. He came from Russia and was strongly attached to his homeland region; he collected documents and books dealing with the history of Russia. In 1870 he came to Kraków for the first time, and two years later he settled there permanently. He was a journalist by trade; he belonged to the editorial staff of “Czas” [“Time”] magazine. He also worked part-time for the Czartoryski Museum. Together with Matejko, he shared a passion for history of the old Polish Commonwealth and love for collecting, which resulted in their friendship.

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Marian Gorzkowski was born in Biała Cerkiew [Ukr. Bila Tserkva] in 1830 in Ukraine. He studied at the University of Kiev. He travelled to Greece and Italy. He came from Russia and was strongly attached to his homeland region; he collected documents and books dealing with the history of Russia. In 1870 he came to Kraków for the first time, and two years later he settled there permanently. He was a journalist by trade; he belonged to the editorial staff of “Czas” [“Time”] magazine. He also worked part-time for the Czartoryski Museum. Together with Matejko, he shared a passion for history of the old Polish Commonwealth and love for collecting, which resulted in their friendship. The friendship with the painter became even closer when Gorzkowski came to hold the post of the secretary of the School of Fine Arts, which Matejko had managed since 1873. Soon Gorzkowski also took care of Matejko’s household and estate matters and gave his son French lessons. The artist decided to show gratitude by placing the figure of Gorzkowski in several of his paintings such as: Wernyhora, Battle of Grunwald or Prussian homage. After Matejko’s death in 1893, Gorzkowski retired.

Marian Gorzkowski gathered a large collection of his superior and friend’s works, numbering nearly 243 drawings, watercolours and oil paintings. He also left behind texts in which he commented on Matejko’s painting. These included three books, several brochures, two volumes of memories and a volume of letters to his wife. The greatest controversy was stirred by the book entitled Jan Matejko. Epoka lat dalszych, do końca życia artysty [Jan Matejko. The Epoch of Later Years, Until the Artist’s Death], published in Kraków in 1898. Its circulation was destroyed by order of Stanisław Tarnowski, who was afraid that it would compromise the artist in the eyes of the readers. Later researchers of Matejko’s work questioned the value of some of the information provided in Marian Gorzkowski’s studies.

Elaborated by Agnieszka Jankowska-Marzec (PhD), (Academy of Fine Arts in Kraków),
Licencja Creative Commons

This work is licensed under a Creative Commons Attribution 3.0 Poland License.

Bibliography

  1. E. Łepkowski, Marian Gorzkowski,[in:] Polski Słownik Biograficzny, Vol. VIII, Wrocław-Warszawa-Kraków 1959-1960, p.335-336.
  2. J. Krawczyk, Matejko i historia, Warszawa 1990.
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“Portrait study of Marian Gorzkowski” by Jan Matejko

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