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this explanation are the traces of cuts on the canvas showing that only the image of the woman was subject to the attack. The object of the artist's feelings could be Ewa
Kotarbińska, whom he met during his summer stay in a palace near Warsaw. She was a brunette, but Helena Kiniorska recorded in her memoir that her family saw a similarity between her and the woman in the painting and harshly condemned him.
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Podkowiński's act of desecration may have contributed to the rumours that the image portrayed a woman towards which the artist had an unfulfilled affection. The damage of the image, and
Podkowiński's death soon afterwards fuelled the speculation of his death being a suicide. Providing a rationale for
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In comparison with the sketches, the final, monumental composition gained in dynamism over the earlier weak contrast of colour, intensifying to between golden and black, and the tension between light and shadow became more polarised. This could be an effect of his private life drama and the progress
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The color range is quite narrow and is composed of blacks, browns and grays contrasting with the white and yellow. The image is divided into light and dark parts. The upper left corner is illuminated, directing attention to a clear figure of a woman and the horse's mouth. The right side of the
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On the morning of 23 April 1894, 36 days since the exhibition's opening and just before its planned end, Podkowiński came to the exhibition and slashed the painting with a knife. The reasons for this act are unclear.
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between 1893 and 1894. The creation process lasted at least three months, and according to a friend, the terminally ill
Podkowiński "was painting from his bed" as he finished the work. The painting was shown at the
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Despite the success of the painting, Podkowiński could not find a willing buyer: 3000 rubles were offered, but
Podkowiński had asked for 10,000.
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After
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corresponding to the final version, while differing slightly in size and colour. Reduced in
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and is credited as the most famous work in his output. It is considered the first work of
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and scandal; however, approximately 12,000 people saw the picture, earning nearly 350
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exhibition on 18 March 1894. The exhibition was accompanied by an atmosphere of
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painting shows whirled darkness in which the horse's hind and tail can be seen.
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310 cm × 270 cm (120 in × 110 in)
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of that time, as the cosmic power and determinant of the human condition.
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in the second half of 1893 was the consequence of the growing drama of
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Setting about the execution of the huge painting, he employed the
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501:"Historia jednego obrazu "Szał uniesień" – Władysław Podkowiński"
438:"Paderewski in Poetry: Master of Harmonies or Poland's Savior?"
550:"Art Under Attack – 11 Famous Masterpieces Damaged By Madmen"
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to an absolute value, regarding it, in accordance with the
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in the artist's life. In his vision, Podkowiński elevates
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The concept of work dates back to
Podkowiński's stay in
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Sobbing
Superpower: Selected Poems of Tadeusz Różewicz
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366:"The Best of Polish Painting on Display in Poznań"
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183:in 1889, but the emergence of successive
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507:30 October
352:References
175:Background
66:Dimensions
454:1521-6039
158:redheaded
118:Symbolism
621:Nude art
464:22 March
376:22 March
300:See also
212:sketches
122:a period
74:Location
252:Zachęta
226:History
142:Austria
138:Germany
579:11 May
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286:Moscow
282:Kraków
260:rubles
247:Warsaw
241:, 1895
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126:Poland
105:Frenzy
96:Polish
82:Kraków
56:Medium
38:Artist
448:(1).
181:Paris
165:horse
161:woman
124:when
581:2020
557:2020
530:ISBN
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487:2020
466:2014
450:ISSN
420:2020
399:2020
378:2014
288:and
278:Łódź
187:and
154:nude
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51:1893
48:Year
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