90.0 x 120.5cm - oil, canvas signed at lower edge: M.G. Wywiórski
Among his contemporaries, Wywiórski was considered one of the most outstanding landscape painters: "Only Fałat probably surpassed him in the virtuosity with which he recreated forest and winter landscapes," was written about him in the pages of "Świat" - This talent was spontaneous, by God's grace, based on a perfectly refined technique, on unparalleled experience (.... his paintings have that sincere directness of feeling for nature - the Polish landscape - which will always be one and unite a warm sympathy, which will always make Wywiórski's paintings pleasing to the eye, desirable in every Polish home. ("World" 1926, no. 27, p. 16). The artist was held in the highest esteem in the artistic circles of Cracow and Greater Poland, he created under the protection of patrons, while he sold his works to the best collections of Polish art of the time.
Michal Gorstkin Wywiórski (Warsaw 1861 - Berlin 1926) studied in Munich from 1883 to 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.
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