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Oil on canvas; 66 x 55 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
MAN TGS 26.440 der Strähuber Spedition Transporte GmbH aus Reißing auf der B20 Cham - Burghausen bei Oberschneiding.
Oil on canvas; 69 x 129 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas; 73.5 x 48 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
Oil on canvas; 137 x 106 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas; 80 x 61 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
Oil on canvas; 22.3 x 16.8 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
Oil on canvas; 70.8 x 130.6 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas; 123 x 199 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on board; 18 x 10 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas; 172 x 244 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas; 137 x 148 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
"Thaw in Ukraine. Before an Inn", 1876 Jozef Chelmonski
(November 7, 1849 – April 6, 1914)
Chełmoński represented the trend in art called "Polish Patriotic Painting" and famous for his depictions of horses and nature of the Polish/Ukrainian countryside
Born near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, he studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. He also had studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish territories (Poland as a country did not exist then), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in Kuklowka village. Contact with his homeland and nature revealed quality in his artworks. From that time are the best liked Chełmoński's paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
en.wikipedia.org/wiki/J%C3%B3zef_Marian_Che%C5%82mo%C5%84ski
Oil on canvas; 110 x 78 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
Oil on canvas; 47 x 64.5 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
Oil on canvas; 85 x 106 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas; 58 x 41 cm.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.
Oil on canvas; 51 x 40 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
MAN TGX von Strähuber Spedition Transporte GmbH aus Reißing auf der A3 Regensburg - Passau bei Schwarzach, Kreis Straubing-Bogen.
Oil on canvas; 60.6 x 101.8 cm.
Józef Marian Chełmoński was a Polish painter. He was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, Jozef studied in Warsaw Drawing Class (1867–1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoński lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. There, he also studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoński visited the Polish Territories (Poland, as an independent country, did not exist during this time), Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoński went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoński visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in the village of Kuklówka Zarzeczna. Contact with his homeland and nature are qualities revealed in his artworks. From that time are the best liked, or the most beloved of Chełmoński's paintings are paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Chełmoński represented the trend in art called "Polish Patriotic Painting".
Oil on canvas.
Younger brother of the painter Maksymilian Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868–73) at the Akademie der Bildenden Künste in Munich under Georg Hiltensperger (1806–90) and Alexander Strähuber (1814–82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare’s Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome. He largely produced studies based on Italian Renaissance painting (e.g. Italian Siesta ; Warsaw, N. Mus.) and plein-air studies for his painting The Bower (1st version 1874–80; destr. by artist; 2nd version 1882; Warsaw, N. Mus.). The long series of studies he produced for this work, (e.g. Begonias , 1876–80, Lódz, Mus. A.; and Second Study for the Bower , Warsaw, N. Mus.) were often deliberately presented as finished works.