Bronislawa Rychter-Janowska, BEFORE THE MANSION

34.5 x 48.7 cm - oil, cardboard signed l.d.: B. RYCHTER-JANOWSKA



Although the motif of the manor house in Polish painting was depicted by many artists (...), the term "painter of vanishing manors," coined by art historian and critic Artur Schroeder in 1923, has forever stuck to Bronisława Rychter-Janowska. Probably the source of the artist's fondness for this subject was her childhood experiences spent in the family manor in Jeżów and Cerekwia.

Anna Florek, Against the Avant-Garde. The work of Bronislawa Rychter-Janowska, in Dworki, pejzaże, portrety. Creativity of Bronislawa Rychter-Janowska, District Museum in Nowy Sącz, 2022, p. 51.



♣ a fee will be added to the auctioned price, in addition to other costs, based on the right of the artist and his heirs to receive remuneration in accordance with the Act of February 4, 1994 - on Copyright and Related Rights (droit de suite).

Bronislawa Rychter-Janowska (Krakow 1868 - Krakow 1953) - an artist dubbed "the painter of vanishing Polish manor houses", began her painting studies in Krakow under her brother, painter Stanislaw Janowski, and at the courses of A. Baraniecki. Ludwik Boller (a Munich painter, working on Panorama of the Tatra Mountains at the time) also gave her private lessons. In 1896 she went to Munich for further studies and studied with Anton Ažbé and Simon Hollósy. She traveled extensively, still going to Hungary and Italy, where she studied further at the Florence Academy and in Rome. Initially associated with Krakow, she settled in Stary Sącz around 1906, where she ran a private painting school for some time. In 1917 she returned to Cracow. She continued to travel extensively, going "in search of beauty" to Italy, North Africa or Turkey. She painted in oil, watercolor, pastel, made macatas and appliqués. Starting in 1901, she repeatedly showed her works at exhibitions in Krakow, Warsaw, Lvov , Prague, Vienna, Rome, Venice, Florence. She painted numerous landscapes (including many Italian landscapes), views and interiors of manor houses or churches, scenes of village life, and portraits. She was active in journalism and literary works (including the novel Beyond Rome, the novella Strzygoń); she wrote several dramas (Monk, Parasite) and extensive Memoirs. She was the wife of painter Tadeusz Rychter and sister-in-law of Gabriela Zapolska.