User:MarcelinaMajerczyk/Wernyhora (Jan Matejko's painting)

Wernyhora (other titles: The Lute Player, The Prophecy of the Ukrainian Bard) – an oil painting created by the Polish artist Jan Matejko in 1884, located in the collection of the Gallery of 19th Century Polish Art at the Cloth Hall, a branch of the National Museum in Kraków.

Description
The Ukrainian prophet and bard Wernyhora, who lived in the second half of the 18th century (according to some researchers, a legendary figure originating from Ukrainian folk tales), gained fame for his political prophecies regarding the fate of the Polish-Lithuanian Commonwealth and Ukraine. He was believed to have foreseen Cossack uprisings, the partitions of Poland, the failures of national liberation uprisings, and the eventual regaining of sovereignty by Poland. During the period of foreign occupations and in times of optimistic faith in the rebirth of the Commonwealth, Wernyhora's prophecies enjoyed considerable popularity, and he himself became a character in literary and artistic works.

Jan Matejko depicted Wernyhora with an Orthodox cross on his chest as the main character in a moment of prophetic inspiration. His massive figure, with hands raised in a dramatic gesture, is supported by a young Ukrainian woman in traditional Ukrainian attire and a young Cossack. At his feet lies a kobza, a symbol of the significance of songs preserving the memory of the history of the Polish national community. Above the poet's head, the moon rises like a golden halo, indicating that he is a chosen and spiritual "man of God."

Around Wernyhora, there are additional figures, including a Polish nobleman, Nikodem Suchodolski, writing down the prophecy with a quill, a Ukrainian haidamak with a musket in hand, an Orthodox priest with folded fingers sitting next to a pile of knives, a young couple being restrained by a woman beside the prophet, and a child embracing a medallion depicting the Mother of God with the Child.

Symbolic aspect
The assembly of characters and objects around him, as well as the fact that the scene takes place at night, holds allegorical significance. They refer to the political and religious relations between the Polish and Ukrainian people and the impending anti-Polish and anti-noble uprising (1768), the conflicts of the Bar Confederation (1768–1772), and the downfall of the Commonwealth (1795).

Matejko's painting was created during a period of tension in Russo-Polish relations, provoked by the unfriendly policies of the Tsar towards the Poles. Therefore, it represents his stance on the situation that was unfolding at the time, hiding an elaborate political context, elaborated, among others, by Pencakowski and Słoczyński.

Wernyhora in a white and red attire is here an allegory of the pre-partition Commonwealth, a metaphor for pro-Polish political beliefs.

The child in a sukmana symbolizes a rejuvenated Poland, destined for a long pilgrimage (travel bag, hat, walking stick).

The source of strength for the rejuvenated Poland lies in religious, moral, and ethical values (medallion): they defend it, mirroring the blessing hand of Wernyhora, the Poland of Old (reference to Moses and his role in the battle of the Israelites against the Amalekites). They shield it from the threat, which is presented here by the Orthodox priest with a pile of knives, symbolizing [...] the imperial policy of violence [...] that replaced the voluntary union policy implemented by the former Commonwealth.

In the future, there will be a reconciliation of the once conflicting nations, which is depicted in the ring within the child's reach and its counterpart on the finger of the Ukrainian woman supporting the poet.

Outline of the Ideas of Polish-Russian Relations in the 19th Century
In the 19th century, the idea of so-called Slavophilism prevails, encompassing both the Polish and Russian variants. It illustrates certain political and philosophical constructs proclaiming slogans of a general unity between them, yet the reality is different.

The Cultural and Political Situation of Rusyns in the 19th Century
The partitions, which resulted in the division of Polish lands among three states, also affected territories inhabited by the Ruthenian population, placing them under the rule of two powers: Russia and Austria. This led to entirely different paths and aspirations for the Ruthenians under Tsarist rule and those residing in Galicia. In both cases, the national aspirations of the Ruthenians clashed with the independence aspirations of the Poles, who throughout the 19th century believed in the restoration of the Commonwealth within its pre-partition borders. Alongside the development of national consciousness among the inhabitants of the former Commonwealth, mutual relations between different ethnicities also evolved.

At a certain point, there was a kind of national "awakening" among the Galician Rusyns, marked by the interest of the youth in folklore, language, and the history of the country. This resulted in a broad range of literary creations that garnered admiration and engagement from the Polish youth.

''The image of Ruthenia and its history was shaped for the young Polish generation by the literary output of the representatives of the so-called "Ukrainian school". [...] The fact of describing the uniqueness of Ruthenia-Ukraine did not prevent them from still perceiving it as an inseparable part of the Commonwealth. The romantic vision of these lands—whether idyllic or filled with horror—was shared by [...] the Polish youth, including Matejko. The famous painting "Wernyhora" serves as a prime example of fidelity to the ideals of Polish, not Russian, literary figures. It undoubtedly emerged from inspiration drawn from the works of the "Ukrainian school," particularly those of Juliusz Słowacki. However, this was more about a romanticized imagination of the past than an understanding of the actual conditions in the eastern part of Galicia .''

It should be noted that the text of the so-called "prophecy of Wernyhora" was published in December 1830, arousing significant interest in the culture at that time. Granting this character a sense of mystery, authenticity to the attributed prophecies, and political context initiated the process of transforming the bard into a lasting myth deeply rooted in Polish national consciousness.

The Influence of Matejko on "Lyre Mania"
Matejko taught at the Krakow School of Fine Arts, educating both Poles and Rusyns. Specific inspirations from Matejko's works or pieces addressing the same themes he explored in his art emerge, reflecting a certain emulation by both Ukrainian and Polish students.

Stanisław Wyspiański made the character of Wernyhora crucial to his play "Wesele" ("The Wedding"), as mentioned by Stanisław Estreicher:

''[...] in some time, maybe a good month after that wedding [...] Wyspiański brought me and read a scene freshly written by him, where two people were having a conversation: Włodzimierz Tetmajer and Wernyhora. He told me that standing in the doorway of the room where they were dancing [...] he saw on the wall a reproduction of Matejko's 'Wernyhory,' which had long occupied his imagination. And at that moment, he asked himself: what if Wernyhora suddenly descended from that wall, bringing news that his prophecy was coming true and that the time of liberation from bondage had come?'' In addition to "Wesele," Wyspiański made Wernyhora the hero of a rhapsody and attempted to place him on a stained glass window intended for Wawel Cathedral. His composition shows a direct inspiration from Matejko's painting, which, as Wyspiański's teacher, had a profound influence on his creative work.

Nevertheless, during this time, the myth of Wernyhora had already become widespread in Polish culture, and there was a general awareness of the prophecy attributed to him. However, Matejko significantly contributed to the further evolution of this myth by painting this picture:

[...] in the 19th century, we already have a whole series of other lyre players appearing in the paintings of Polish artists, making it difficult to prove whether they were inspired by the Krakow painter or were subject to the general tendency of "lyre mania," to the arousal of which, alongside Leon Kapliński ("Wernyhora" from 1855), Matejko himself contributed with his work . At some point, a certain canon of representation emerged, featuring the lyre with a snake as its main attribute, symbolizing a prophetic and philosophical spirit. In later paintings within the Polish artistic community, this repetitiveness is noticeable, particularly among the master's students, such as Hipolit Lipiński and his painting "Lyre Player." Moreover, a significant (and still growing) number of reproductions in books can be observed in later times.

Commentary by Stanisław Tarnowski
However, everything has its flip side. Stanisław Tarnowski, one of the main biographers of Jan Matejko, did not succumb to general enthusiasm, and consequently, he noticed certain errors and shortcomings not so much in the ideology but in the representation itself:"[...] Matejko had a particular fondness for it, valuing it higher than many of his other paintings. He was enticed by the fantastical figure of the Ukrainian soothsayer, and in the versatility with which he embraced various moments and elements of Polish history, there would be a missing tone if he did not paint anything Russian or prophetic. It is understood that he wanted to create Wernyhora. However, in our opinion, this is one of those paintings that did not entirely fulfill the intention of its author. The group is beautifully arranged; all the figures gathered around Wernyhora, feverishly seizing his words— the young Cossack, the priest, the nobleman—have a lot of character. But the prophesying Wernyhora himself, not to mention that in the strength of his manhood, when the imagination of the people and everyone else sees him as an old man, Wernyhora in his inspiration is so excessively pathetic, as Reytan and Copernicus were in their time. Moreover, the moon, rising behind him, is so close that it seems like an aureole around the head of a saint, not shining or illuminating. It is true that the moon's disk, before it has risen higher above the earth, has no radiance yet and has a reddish-yellow color, as seen in the painting. But even then, it is surrounded by some light and luminous atmosphere; here in the painting, the moon is like a solid body, not shining, like a waxen circle, for example ."

The Long Process of Creation
In 1875, Matejko began painting "Wernyhora," but ''[...] this barely started painting remained in the artist's studio. For several years, sources show a kind of silence regarding the painting until 1878 when [Gorzkowski] [...] ordered me to pose for Wernyhora, whom he was then going to paint .''

On August 8, 1878, Gorzkowski writes: I was in the studio and saw a newly sketched painting on a larger scale: "Wernyhora"; he [Matejko] told me that I would pose for him as the nobleman who is transcribing Wernyhora's prophecy .

Another piece of information appears in January 1880 when the heads in the painting were done; [...] this painting, only worked on from time to time and still unfinished, remains in the artist's studio .

1882 [...] the painting, which against the backdrop of Ruthenian history depicts Wernyhora at the moment of prophecy .

April 1883: ''For the sake of variety, Matejko liked to paint two pictures at the same time; thus, he continued to paint the picture of Wernyhora. I posed for the scribe Suchodolski, who was recording the Cossack's prophecies; Niedzielski from Śledziejowice posed for the Cossack holding the prophet; and the gardener Wydrowski posed for the character of Wernyhora, although Matejko significantly transformed his face .''

The completion of the work took place in November 1883, after almost 8 years.

Sketch for painting
The sketch was made on mahogany board with dimensions of 36.5×29.5 cm in 1875. The composition of the sketch generally aligns with the final painting, but there are differences in the arrangement of figures around the prophet and a different expression on his face. Additionally, the sketch lacks the child and priest in the foreground, and there are variations in the depiction of props and bats.

Exhibitions
1884: Kraków, TPSP; Lviv, Jan Matejko exhibition; Wrocław; Poznań, Działyński Palace; Berlin, LVII Exhibition of the Royal Academy of Arts

1887: Kraków, National Museum Sukiennice (Cloth Hall); Vienna, Osterreichischer Kunstverein

1893: Chicago, World’s Columbian Exposition

1894: San Francisco, California Midwinter International Exposition

1900: Kraków, TPSP

1938: Kraków

1953: Kraków, National Museum, exhibition of Matejko's works on the 60th anniversary of his death

1959: Sofia, National Art Gallery; Bucharest, Museum of Art; Budapest, Museum of Fine Arts

1987: Belgrade, National Museum; Novi Sad, Vojvodina Museum; Sarajevo, Art Pavilion Collegium Artisticum