Jacek Malczewski: Polish Symbolism

Jacek Malczewski (1854-1929) was a Polish symbolist painter who was part of the patriotic Young Poland movement, and whose work incorporated such motives as Polish history, folk-tales, mythology and Romanticism. Below are three of his artworks considered among some of his most awe-inspiring.

Melancholia [1890/94]

The artist’s best-known painting Melancholia is a work of feverish, staggering genius, which elicits an emotional, instinctual response, even if we are not sure which one. In this painting, whose precise meaning is open to various interpretations, we see “a hallucinatory whirlpool” of different emotions, memories, figures and impressions, with the figure to the right being presumably Melancholia herself, dressed in black. To the left, images of peasants and freedom fighters probably tell us of the unsuccessful Polish uprising of 1863, which resulted in apathy and gloom, again conveyed by Melancholia. The revolutionary colours of white, red and blue are emphasised in the work to underscore the struggle, while the black is also noticeable to hint to us of beauty, freedom marred.

At the same time, we see in this painting autobiographical notes, as evidenced by the figure of an artist near a canvas to the left. In this respect, the figure of Melancholia may represent the feelings of self-doubt and sadness that accompany every true artist in their creation. Perhaps, we even see the ongoing spiritual or otherwise metamorphosis of an artist to the right, and are told of the perishable nature of art and all creation in general. If, according to Italo Calvino, a classic is [that] which “has never finished saying what it has to say” then this work surely falls in the same exclusive, timeless category.

Siberian Wigilia [1892]

Inspired by his compatriot, ethnographer and poet Teofil Lenartowicz, Malczewski depicts in this painting Polish people deported to Siberia who find themselves home-sick on Christmas Eve, being so far away from their home country, with uncertain future ahead of them. Each of the men is meditating on his own fate and family back home. The general feeling is that of apathy, lethargy bordering complete stupor, that most likely hides mental suffering and internal despair. This is especially evident by the young man on the right holding a plate with a vacant look on his face, being in thought so far away from his surroundings. It is also clear from this artwork that food is scarce, but the pretence is still made of a dining etiquette and proper behaviour.

Vicious Circle [1895/97]

Just as Melancholia above, Vicious Circle is a highly symbolist, metaphorical painting. It also grapples with the work of an artist in the moment of their creative process. The artist is a boy at the top of the stepladder surrounded by figures of “joy and grief”, representing different feelings, including worries and fears, and the artist’s imagination running wild amidst the on-going search for inspiration. The artwork also hints to us that the process of life and art creation is such a “vicious circle” of happiness and recognition, on the one hand, especially when a muse visits an artist, and sorrow, abandonment and disillusionment, on the other. True genius cannot escape their “double-edged sword” fate of being both lauded and gravely misunderstood, and even, perhaps, underappreciated or forgotten. The stark colour contrast between the two sides of the painting only emphasises the vivid dichotomy.