Chełmoński clearly embraced folk themes, sending waves that resonated through a wide range of cultural spheres, from the Oscar-nominated film Chłopi (The Peasants), largely inspired by Chełmoński's works, to the hit TV series 1670, to books such as Ludowa historia Polski (A People's History of Poland), Chłopki: opowieść o naszych babkach (Peasant Women: A Tale of Our Grandmothers), and the fantasy novel Baśń o wężowym sercu albo wtóre słowo o Jakóbie Szeli (The Tale of the Serpent's Heart, or a Second Word on Jakób Szela). Polish culture is beginning to realise once again that the world does not end at city limits.
The monographic exhibition Józef Chełmoński 1849-1914 offers an intimate view of the major works of this late-19th and early-20th-century painter. Viewing paintings from a few feet away is an entirely different experience from leafing through an album of even the highest-quality reproductions. Being up close and personal with an artwork reveals its texture, almost allowing the viewer to sense it with their fingertips. One can study the brushwork, observe windswept manes and powerful legs of horses, and admire the near-excessive virtuosity with which Chełmoński captured motion in the mesmerising Targ na konie w Bałcie (Horse Market in Balta). It also allows you to notice the finer details-the figures in Przed karczmą (In Front of the Tavern), the draped gown and delicate threads of the titular Babie lato (Indian Summer), and the sweat-slicked cheeks of two protagonists in the iconic Bociany (Storks). Finally, one is bound to notice Chełmoński's uncanny ability to combine attention to detail with a certain nonchalance and boldness in his construction of the landscapes in which his characters are placed. His brushstrokes become broader and bolder, while the contours blur slightly. Since almost all of Chełmoński's key works are on display in the National Museum, one is free to compare and examine the master's pieces at will.
And one can see nearly all of them-although, spoiler alert, the monumental Czwórka (Team of Four) is missing. Given its sheer size-an enormous canvas of over six metres in width-it remains on permanent display at the 19th-Century Polish Art Gallery in the Sukiennice building in Kraków. The featured paintings include Chełmoński's other most celebrated works, among them the aforementioned Indian Summer, Storks, and Kuropatwy (Partridges).
And in case you have wondered, there is no need to worry, his fascination with horses is also well represented. The iconic 1880 painting Trójka (Team of Three) is there, as is Karnawał w Polsce (Carnival in Poland) (also known as Kulig (Sleigh Ride)), a dazzling display of equine dynamism. None of the key periods of the artist's career have been overlooked.
After all, this exhibition is designed to be highly educational. Rather than attempting to critically re-evaluate Chełmoński's work, it pays tribute to him in a reverential celebration of his artistry. Carefully curated, it offers visitors a chance to explore his most important paintings in chronological order. Extensive exhibit descriptions have been provided, guiding viewers through the painter's life and work, helping them navigate his artistic evolution and seamlessly move through his various studios, homes, and, consequently, the shifting themes of his paintings.
The journey begins with Chełmoński's artistic studies in Warsaw and Munich, marked by his 1869 paintings Sobota na folwarku (Saturday in the Manor) and Dziewczyna u przełazu (Girl by the Stile). From there, we move through his time at the renowned Europejski Hotel in Warsaw-where he shared a studio with Stanisław Witkiewicz and Adam Chmielowski, his years in Paris, and his return to Poland, and specifically to the Mazovian countryside, and finally, to Kuklówka. The exhibition culminates with Kurhan (The Burial Mound), completed in 1912. Each creative period is assigned its own gallery space.
In keeping with the educational component of the event, complementing the main exhibition is a smaller side-room display of Chełmoński's sketches and sketchbooks. Various explorations of movement and human figures, preliminary drafts, and conceptual pieces offer insights into his artistic process. This is further highlighted by small painted sketches displayed alongside his larger masterpieces. The artist often used smaller canvases outdoors as a kind of visual notebook, refining the final work in the peaceful retreat of his studio, sometimes modifying his initial vision. This creative process can be traced through works such as the renowned Storks.
However, the exhibition's strong educational focus and the curators' determination not to leave out any of the artistic ideas featured in Chełmoński's work, also have a slight downside. The sheer number of paintings packed into a relatively small space, can feel overwhelming. The chronological arrangement does little to help. The danger in showcasing a succession of equine-themed paintings is that they might all blur together, their details becoming indistinguishable. I could not shake the feeling that the exhibition needed more breathing space-perhaps a few key paintings displayed on their own, without the company of others. This would allow visitors to pause, take a break from the intensity of Chełmoński's dynamic depictions of galloping horses, and fully appreciate his artistic mastery.
This is especially true for his landscapes, which, influenced by French painting, focus on nature itself. In these works, the horses step aside, making way for bustards, partridges, and hawks. As he moves towards pure landscape painting, offering unspoiled scenery-sometimes entirely devoid of a central subject, as in Świt (Dawn) and Noc gwiaździsta (Starry Night)-these pieces seem to call for a moment of stillness and space for contemplation.
That in no way diminishes the profound impact of this exhibition. Its creators have managed to put together something akin to a textbook on Chełmoński. The work of this artist, born in Boczki near Łowicz, holds a permanent place in Poland's cultural and artistic history. Frequent references to his paintings show that his legacy is not merely a relic of the past but rather remains an integral part of the national canon. And as with any cultural canon-whether literary, cinematic, or artistic-it deserves thoughtful engagement. Especially when it is this close, within arm's reach.
author: Adam Jastrzębowski
translation: Krzysztof Kotkowski
- Exhibition: "Józef Chełmoński 1849-1914"
- National Museum of Poznań, open until 29 June
© Wydawnictwo Miejskie Posnania 2025