Only in comparatively recent times has Polish painting achieved its honorable place beside the art of other nations of the world. However, it has developed so richly, it has acquired such distinctive characteristics, that today it occupies its own individual place in the field of European art.

Painting in Poland, as in the rest of Europe, began in the Middle Ages; painters' guilds appeared in Cracow and in other cities, and a great many paintings were found in old castles and churches.

In the Middle Ages, painting went hand in hand with sculpture. The 2works of Wit Stworz (called Veit Stoss by the Germans) are a good example of fifteenth-century Polish sculpture. His most important works, as, the three-story statue, "Ascension of the Holy Virgin," are to be found in the churches of Cracow.

With the collapse of the guilds, art also collapsed; it had to follow different paths, it had to be taken in other hands. Art remained dormant in Poland until Stanislaus Augustus [late eighteenth century] began to encourage artists, at whose head was Baciarelli of Italy, to gather at his court. At this time, we find a number of Polish artists, who were either independent or followed Baciarelli's lead. Such were Letycki, the religious painter, Czechowicz, Orlowski, the painter of battle scenes, and Francis Smuglewicz, who was later to become professor of painting at the University of Wilno. Rustem, successor to Smuglewicz at the University, was one of his more famous pupils, and he, in his turn, left such pupils 3behind him as Wankowicz, Rusiecki, and others. The development of this school of art came to an abrupt end when the Russian government closed the University of Wilno in 1830. The constant military activity in Warsaw prevented any organized artistic effort there, but individual Artists were at work. Such was Lesser, whose figures speak more eloquently by their grouping and gestures than by their facial expressions. Among these were also the portrait artist, Kaniowski, who spent some time at the court of Gregory XVI, and Hadziewicz, a painter of religious subjects. Suchodolski painted oriental scenes after spending some time at the [Turkish] Sultan's Court. At this time, there were two women painters, Mesdames Baumann and Szymanowska.

Only in Cracow, which enjoyed comparative peace, can we follow the development of art systematically. Already in 1780, a school of painting was established at the Jagellonian University. In 1818, there were three art schools at this institution: drawing, painting, and sculpture. At 4the head of this movement was Brodowski, an intimate friend of Thorwaldsen [Danish sculptor, 1770-1844], and well known in the artistic world. In 1830, a school of anatomy arose at this university, at the head of which was Stattler, famous for having been awarded a medal in Paris for his biblical painting entitled "Machabeusz". With him, it must be noted, the Cracow school of art really came into existence. He not only introduced nature study, but he was a pedant who worked his pupils for unusually long hours at still-life subjects. When it came to working from models, he lost all track of time. It is said that a certain young boy posed for nine months, and that eventually the pupils had to give up the study they were making of him because he had grown too much. Though Stattler conducted the school on very severe lines, he encouraged students not only in painting but in scientific work.

In 1850, Luszczkiewicz, of Cracow, and Gerson, of Warsaw, whose work is characterized by archaeological accuracy, appear. Several of Gerson's 5paintings are now on exhibit at the Exposition. Gerson, Lesser, and Luszczkiewicz awakened a lively interest in archaeological studies. In 1853, the work entitled "Reproductions from Medieval Art" appears, in which are reproduced the most beautiful of our medieval art treasures. An association was formed for the purpose of encouraging the fine arts by conducting a perpetual exhibit. In the same year, the first exhibit of old masters was held in Cracow. All of the wealthy families donated the paintings in their possession and in this way a gallery was created which represents great works of art from the Italian masters to the present day. Of what importance this was to our art, gentlemen, you will understand only after you have learned that in Poland we can have no public galleries, or rather, strictly speaking, that we wish to have no public galleries, for the past has given us painful lessons concerning collections of art treasures. Every collection we have made in the past has been confiscated and removed to Russian cities. The Zaluski Library, one of the largest of its kind at the end of the eighteenth century, was 6removed to St. Petersburg. The Pulawa Collection of Prince Adam Czartoryski was partly taken to St. Petersburg and partly buried in the ground. Only after many years were these treasures unearthed and smuggled to Cracow, where they are now lodged in the private museum of Prince Ladislaus Czartoryski. The library and art collection at the University of Wilno were taken to Moscow and St. Petersburg; the Krzemienski Library, the Lyceum, purchased after the fall of Stanislaus Augustus, Poland's last king, with its whole collection of treasures, was removed partly to Kiev and partly to St. Petersburg. In recent times, at least fifty thousand volumes have been removed to St. Petersburg from the Warsaw Library. After such experiences, no one in Poland has the courage to open a public museum. It is fifteen years since the National Museum in Cracow was opened, but except for a few of the more beautiful items, few people will entrust their art treasures to the Museum's care, for the country's future is too uncertain. Whoever has anything beautiful keeps it privately. Taking these conditions into consideration, gentlemen, you 7can readily understand the tremendous importance of the 1853 exhibit, which was repeated in Cracow ten years ago.

A love for the relics of the past already existed; aesthetic desires were awakened, and an artistic technique existed--there was still a need for a genius who would join them together. At the Cracow School of Painting, a young boy who found his greatest pleasure in copying historical illustrations, was studying diligently. When Jan Matejko entered the school, many of his parents' friends advised that he give up this work, in which he could never gain anything. But the youngster was allowed to study art. It seemed as if the predictions made to his parents would come true, when, after eight years of painting, his work was not recognized--his first painting, "Zolkiewski Leading the Szujskis," was bought by a fisherman. His second painting he gave to Muczkowski, director of the library, for which he was given full library privileges. In 1859 he went to Monaco, where he spent eight months. He spent two months in Vienna, in constant 8disagreement with his professors. During this time, he completed his archaeological work, "Ancient Costumes in Poland", which hangs at present in the Polish section of Chicago's library. In 1864, he painted "Skarga's Sermon," for which he was awarded a medal after its exhibit in Paris, thus achieving fame throughout Europe. Skarga was a preacher at the Court of Sigmund III in the seventeenth century, who, seeing our national faults, predicted the downfall of Poland. The painting portrays him in the act of making this prophecy before the king and the Sejm [Council]. Another important work, "Rejtan," was purchased by the Vienna Art Gallery. Rejtan was a delegate to the Sejm in 1772. Threatened by the Russian army, this Sejm was to ratify the first partition of Poland. Rejtan protested against this, and throwing himself in the doorway, refused to allow the delegates to leave the council chambers. The partition was ratified in spite of his protest. Rejtan went mad and eventually committed suicide.

In 1871, Matejko painted "Batory's Victory at Moscow" and "Szujskis Taken 9into Captivity". For the latter he was given membership in the Paris Academy, and the Bohemians asked him to accept a directorship at their school in Prague. In spite of the attractiveness of the Bohemian offer, Matejko did not accept it. As a result, a new School of Fine Arts was established at Cracow and Matejko became one of its directors. The city gave him a tremendous ovation. In 1875, he painted "Wernyhora," which is on exhibit in the Palace of Fine Arts. Wernyhora [Vernyhora] was a peasant from the vicinity of Kiev, who prophesied that an independent Poland would arise as a result of a general European war. When, in the same year, Matejko passed through Warsaw on his way to Danzig and Grunwald for material for his next painting, his trip was actually a triumphal march. In the same year, he was appointed to the Rafael Academy in Urbino [Italy], and a few years later, he was given the Cracow scepter, the highest honor which that city could bestow upon him.

In 1883, Matejko painted "Sobieski's Defense of Vienna," which hangs at 10present in the Vatican. In 1867, he completed "Kosciusko at Raclawice". Kosciusko's fame in our history does not arise from the fact that he was a general, for, in the end, he was defeated. He is great because he awakened patriotism among the peasants, because he recognized the peasantry as the foundation of Poland's future. The painting shows the peasant-soldiers of Cracow returning to their leader with the Russian cannon they have captured. The peasant hero Glowacki is the main figure in the picture.

In 1891, Matejko completed the painting "Constitution of the Third of May, 1791". This constitution gave the peasants of Poland more freedom than was enjoyed by the peasants of any other European country at that time. Russia opposed this constitution, invaded Poland, and effected the second partition.

From these most important examples of Matejko's work--he painted about two 11hundred pictures in all--you can see, gentlemen, that he was, if I may call him that, a painter of Polish history. He recorded all of the most glorious and most tragic events to befall Poland. The vigor and life of his portrayals can readily be seen in the numerous reproductions I have presented to you, and from the original on exhibit at the Fair. Quite appropriately, Ranzoni, the Viennese critic, called him the Polish Homer, and expressed envy that the Germans possess none like him. I am willing to admit that other nations can boast of artists who wield perhaps even a more forceful brush than Matejko's, but no nation has an artist who can master the national spirit as does Matejko. Every exhibit of his is a historical event among our people; whole processions come to view his pictures.

Dziennik Chicagoski, Aug. 9, 1893.

Before I leave Matejko, there is one more of his great paintings that should be mentioned. This is "Union," which he completed in 1869. The picture 12is tremendously important because of its thought. The Common wealth of Poland consisted of Poles, Lithuanians, and n--related peoples, though each had its own individual characteristics. In the sixteenth century, they were joined together for the purpose of electing a common king. Through the efforts of Sigmund Augustus, a constitutional union was effected. In the picture, the king has just raised the cross, the bishop is reading the oath of allegiance, and the cardinal is conferring his blessing upon the delegates of the three peoples forming a United States of Poland. The French king, Henry IV, and his minister, Sully, pointing to this event in Polish history, conceived the idea of uniting all of Europe in one federation, but his untimely death brought an end to these plans. Matejko was awarded a gold medal of honor, and a Legion of Honor Cross in Paris.

Although Matejko stands at the head of our art, it would be unjust to say that he alone was master of the spirit of his people. There was another 13artist who might well be called the "painter of 1863". As you know, gentlemen, it was in this year that Poland revolted against Russia. The awful scenes which took place then cannot be described in words; only art could portray these scenes, and it did so, with the pencil of Arthur Grottger.

I was very fortunate in finding reproductions of most of Grottger's works in Chicago. First, here is a series of pictures entitled "War," drawn under the influence of the awful events of 1863, but of a general nature. Gentlemen, as Americans who look with disgust upon the civilized fratricide in old Europe that is called "war," you can appreciate the emotions of our artist, especially in two pictures from this series. One of them is entitled "People or Hyenas," the other is a scene in a church, in which a Russian mercenary has hung his knapsack about the neck of the Saviour. The series "Polonia" and "Warsaw" show scenes from 1862 and 1863, in which defenseless praying crowds were fired upon. The third series, 14"Lithuania," is the tale of a forester who fought and died in the revolt. For this, his wife is sentenced to hard labor in the mines of Siberia. Grottger stands next to Matejko as one who did much to uphold the spirit of the Polish people, who recreated our sufferings in all their immensity.

The events of these terrible years were also presented by other artists besides Grottger. Here I have a reproduction of "Muraviev at Wilno," by Matejko, and a picture by Kossack (Wojciech) showing the Cossacks (well known to you gentlemen, at least from Buffalo Bill shows) riding down a street at full gallop, firing upon the defenseless people.

Besides these top ranking artist, there are others who, though they are not as great, have also had a great influence upon our people. One of these was Zimler, of Warsaw, who preceded Matejko as a painter of historical scenes. It seemed, for a time, that he was destined to be the father 15of Polish art, but an untimely death took him from us. Julius Kossak, the painter of battle scenes and horses, must also be mentioned. Josef Brandt, a professor at the Monaco Academy, also did the same type of work. One of his paintings may be seen at the Exposition, in the German exhibit.

In the prospectus of the Artists' Congress, the question was asked: How much can art influence the lives of a people? The question is answered fully by this sketch of the activities of our greatest artists.

In passing from the older to the present generation of Polish painters, we have Henryk Siemiradzki, two of whose pictures, "Phryne" and "Christ Visits Martha," can be seen at the Exposition in the Russian section. There is no basis to the claims that he is a Russian, and the best proof of this is the story of his life, which I know well. Siemiradzki comes from an ancient Polish noble family; his father and mother were both 16Polish. He received his first artistic instruction at the Academy in St. Petersburg, where he won a gold medal and a scholarship for study abroad. I met him personally in Monaco. It was here that he started work on his masterpiece "Jawndgrzesznica," (The Sinner), which won him fame in Vienna in 1873. Later he went to Rome, where he exhibited "Torches of Nero," a reproduction of which can be seen at the Exposition. Since he was still traveling on the St. Petersburg Academy's scholarship, he was in duty bound to send this painting there. The court had already decided to buy the picture for a hundred thousand rubles ($50,000) when Siemiradzki, upon being presented to the Czar who called him a "Russian," answered emphatically, "No, Your Majesty. I am a Pole!" Negotiations for the purchase of the picture were broken off, and Siemiradzki was never called to court again. A few years later, Siemiradzki presented this picture to the Polish National Museum in Cracow during a great national celebration. You see then, gentlemen, how much right the Russians had to include Siemiradzki's works in their exhibit. Similarly, the Germans claim Brandt, Falat, Rozen, Wodzinowski, 17and Wywiorski.

We come now to the youngest generation of Polish artists. Many of them are represented in the Polish section at the Fair; a still greater number are not represented. In conclusion, I will name only those who are definitely settled in their tendencies. Among the foremost nature artists are the brothers Gierymski, masters of light and shadow; Chelmiński is well represented at the Exposition, and a great number of Kowalski's paintings have been reproduced in the London Graphic. Malczewski painted scenes from the lives of exiles in Siberia almost exclusively; only one of his pictures and one reproduction are to be found at the Fair. Pochwalski and Adjukiewicz are portrait artists at the emperor's court in Vienna. We have two outstanding religious painters: Styka [Jan], whose "Queen of Poland" is exhibited at the Fair, and Krudowski, of whose work, unfortunately, I can show you only one reproduction. Of our landscape artists, I can mention two: Brochocki, whose work can be viewed 18at the Fair, and who himself is a visitor among us, and Swierzewski. Julius Kossak and his son, Wojciech, some of whose reproductions I have here, were painters of battle scenes. Two of our women artists are Mme. Bilinska, recently taken by death, whose portraits have won medals in Paris, and Mme. Stankiewicz, whose works can be seen at the Fair.

From the catalogue you will see, gentlemen, that Polish artists--those that I have named and others--of the old, middle, and youngest generations, have won awards at numerous exhibits. You can readily see that Poland has a great number of outstanding artists, and if they have contributed but sparsely to the exhibit at the World's Fair, it is not for lack of good intentions. America is close to the hearts of the people of Poland, for, gentlemen, there are more than a million and a half Poles living here--I repeat--more than a million and a half, a hundred and fifty thousand of whom live in Chicago alone, Poles who have found refuge here and a second 19homeland. It is not from lack of good will then, but because of our political conditions, which, rather than guarantee support, provide obstacles. Our exhibit here is the result of private effort, which must have met with difficulties not experienced by others.

You know, of course, that a protest has been instituted against Polish participation in the competition. I would be insulting you as Americans, I would insult your sense of justice, if I said anything more of this matter; it is in your hands, and we are confident of the results.