More than 150 works including paintings, drawings and prints from the 19th and 20th centuries, are now on show in Japan in what's been described as a 'veritable treasure' of the most iconic examples of Polish Modernism.
"The exhibition is of great significance for Polish-Japanese cultural relations. It makes it possible to present for the first time in the Land of the Cherry Blossom, works of art that constitute the canon of our national culture," said Polish Minister of Culture and National Heritage Hanna Wróblewska during the official opening.
Professor Andrzej Szczerski, Ph.D., director of the National Museum in Krakow, where most of the pieces of artistic craftmanship can be seen on a daily basis, assessed that this was 'the largest exhibition of Young Poland's art in Japan in history'.
"The numerous audience and media representatives who attended the opening emphasised the artistic importance of the works on display and the significance of the exhibition, showing how the art of Young Poland was able to express both national content and speak the universal language of art," he said.
The exhibition takes up the whole floor at MOMAK (The National Museum of Modern Art, Kyoto), and it is organized around various themes that touch upon inspirations derived from nature, history, Japanese culture, and the distinctiveness of Polish national style.
Polish modernist masterpieces in the center of Japan
"The narrative presented here revolves around Polish history; an introduction marked by the creations of Jan Matejko and Artur Grottger, yet primarily shaped by the movement known as Young Poland’s artwork during the transition from the 19th to the 20th century. This era saw artists not just forge a sense of national identity, but ensure that despite Poland being absent on world maps, it remained vibrant and prominent within European artistic circles," states the exhibition catalog.
Included among the displays are creations by renowned Polish artists such as Olga Boznańska, Jacek Malczewski, Józef Mehoffer, Władysław Podkowiński, Józef Pankiewicz, and Stanisław Wyspiański.
Visitors will be able to admire, among others, Włodzimierz Tetmajer's "The Artist's Family", Leon Wyczółkowski's "Stańczyk" or Józef Pankiewicz's "Czesząca się". Jacek Malczewski's 'Portrait of Feliks Jasieński', 'Girl with Chrysanthemums' and 'Florists' by Olga Boznańska also flew to Kyoto. There will be 'Jane with a Japanese Doll' by Alphonse Karpinski, 'Musicians on the Bridge', 'Poppies' and 'Fears' by Wojciech Weiss, as well as 'The Bearded Woman' by Władysław Ślewiński.
Also on display at MOMAK are two works by Boznanska that have never been exhibited before - these are 'Tulips' and 'Portrait of Mrs L'. While the painter was still alive, they ended up in the collection of Magosaburō Ōhara, a Japanese entrepreneur and collector and philanthropist. They are currently stored in the museum that completes his collection - the Ohara Museum of Art in Kurasiki, Japan.
The phenomenon of 'Young Poland' - rebellion, freedom and individualism
As art historian and founder of the 'Outside the Frame' platform Maja Michalak explains Young Poland is a special and extremely diverse period in painting. Analogous to Young Germany or Young Scandinavia, because the artistic currents were similarly named in different places in Europe, which was to emphasise the freshness and innovative approach to art each time.
"As these times were characterized by expressions of rebellion, the pursuit of liberty, and the wish to engage with art differently, thereby revealing what was personally significant to each artist," explains Michalak.
She notes that the artists focused heavily on expressing their personal uniqueness, integrating several coexisting styles such as Art Nouveau, Impressionism, Symbolism, and Expressionism. Each artist showcased these movements in distinct variations.
The allure of 'Japonism' — a passion that bridged two civilizations.
One distinctive feature of the exhibition in Kyoto is the chance to follow the impact of Japanese aesthetics on Polish artists from a hundred years ago.
Michalak points out that we must discuss the prevalent Japonisme during this period, characterized by an intense interest in Far Eastern art, which captivated many contemporary artists. These artists didn’t just incorporate direct elements like fans and kimonos—imports that appeared frequently in their works—but they also adopted themes such as dragonflies or peacocks, closely linked to Asian traditions. Additionally, techniques borrowed included a diagonal compositional approach and increased use of asymmetry, both hallmarks of Japanese woodblock prints.
Urszula Kozakowska-Zaucha, the curator of the Kyoto exhibit, highlights the significant contribution made by a renowned Polish art critic and collector towards introducing Japanese art in Poland: “These exceptional artworks are displayed alongside Japanese woodblock prints, illustrating the connection between Polish art and Japan. A key figure featured prominently in this exhibition is Feliks ‘Manggha’ Jasieński, an eminent art collector whose personal collection merits its own segment. His enthusiasm for gathering artifacts along with his close ties to the Young Poland artists from Kraków helped popularize Japonisme within their circle.”
Jasieński gathered prime specimens of Japanese art for his collection, making these accessible to artists who could borrow items from him when needed. Ultimately, in 1920, he contributed his complete art collection to the National Museum in Krakow.
"He also commissioned paintings from artists inspired by Japan, with which he was so much in love," adds Michalak. "This combination in the exhibition of Young Poland and Japan is not accidental. It may make it easier for the Japanese to come into contact with these works precisely because they will see elements that are part of their culture and that are easily read by them."
'Girl with chrysanthemums' - the symbol of the exhibition and Boznanska's renaissance
The posters and animations promoting the exhibition featured Olga Boznańska's painting 'Dziewczynka z chryzantemami' - one of the most famous works of the Young Poland period. It seems that this choice is not accidental - Boznańska is currently experiencing a posthumous renaissance of popularity, and her subtle, psychological portrait art appeals to contemporary sensibilities. Interestingly, in the animation promoting the exhibition, the melancholic little girl in the painting this time smiles radiantly.
"Olga Boznańska is one of those artists and one of those women who devoted her whole life to creating. She wanted to have the same opportunities to create as men and to be treated equally with them," explains Michalak. "She put everything on her career. She was very determined about it", adds the art critic.
Boznańska lived primarily in Paris, where she gained significant recognition for her emotionally charged portraits that delve into psychological complexity.
The style of painting employed by Boznańska is highly distinctive and symbolic. Her work showcases remarkable skill, capturing intimate moments filled with emotion. It’s akin to how the Baroque painter Diego Velázquez wielded his brush; this influence, along with those from contemporaries such as Édouard Manet, James McNeill Whistler, and Berthe Morisot, shaped her approach. Such psychologically nuanced portraiture is quintessential of Olga Boznańska. As Michalak notes, she rightfully holds an esteemed position within the annals of art history due to these works.
"Generally speaking, I believe that the Young Poland movement represents one of the finest eras in our country’s art history, particularly within Polish painting,” states Michalak. “This period boasts an impressive array of artists whose work is captivating both for its historical significance and the messages they aimed to communicate, as well as for its aesthetic value and visual appeal. Regardless of whether we're discussing painters like Boznska, Pankiewicz, Mehoffer, or Slewinski, these artworks stand out as exemplary pieces. In my view, such works ought to serve as Poland’s cultural ambassador and epitomize what international audiences associate with Polish artistic expression.”
The exhibition titled "Young Poland: Polish Art 1890-1918" will remain open in Kyoto up until June 29th.
