In addition to being a historical painting, Jan Matejko's Stanczyk During a Ball at the Court of Queen Bona After the Loss of Smolensk is a profound reflection on solitude, national tragedy, and the w...
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Museum-Quality Standards
| Main Features | |
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Author
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Color
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Red,
Dark Green,
Black,
Brown,
White,
Beige,
Yellow,
Gold
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Tags
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Stańczyk,
Jan Matejko,
Polish Art,
Melancholy,
Dark Tones,
Renaissance,
Famous Painting,
Sad Clown,
Political Commentary
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| Main Features | |
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Alternate Titles
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Stanczyk In Reflection
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Art Movement
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Historical Realism
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Historical Events
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Loss Of Smolensk, Polish-Lithuanian Commonwealth
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| Visual and Stylistic Elements | |
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Brushwork/Texture
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Smooth And Defined
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Focal Point
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Stanczyk’s Face
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Light Source
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Artificial Candlelight
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Objects
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Jester , Chair , Table , Documents , Candle , Curtain , Window , People In The Background , Carpet
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Orientation
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Horizontal
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Perspective
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Dramatic Perspective
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| Original Masterpiece Features | |
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Condition/Restoration History
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Minimal Restoration
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Creation Process
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Oil On Canvas
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Inscriptions/Signatures
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Signed By Matejko
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Patron/Commissioner
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Unknown
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Provenance
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National Museum, Warsaw
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| Influences and Related Works | |
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Influences
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Polish History, Romanticism
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Related Works
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Rejtan, Or The Fall Of Poland
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| Exhibition and Market Information | |
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Auction Price
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Not For Sale
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Criticism & Reception
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Regarded As One Of Matejko’s Greatest Works
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Cultural Significance
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Symbolizes Polish National Identity
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Current Owner
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National Museum, Warsaw
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Exhibition History
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National Museum, Warsaw
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Insurance Value
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Priceless
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Market Trends
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High Demand
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Public Domain Status
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Public Domain
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Reproductions
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Highly Reproduced
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In addition to being a historical painting, Jan Matejko's Stanczyk During a Ball at the Court of Queen Bona After the Loss of Smolensk is a profound reflection on solitude, national tragedy, and the weight of foresight. This piece, which was created in 1862, is among Matejko's most psychologically charged pieces since it depicts a unique instance of intense reflection rather than action.
Sitting in the composition's centre is Stanczyk, the famous court jester of Polish kings. He is depicted slouching in a chair, lost in thought, in contrast to the traditional portrayal of jesters as carefree entertainers. His bright red attire contrasts with the dark surroundings, but his demeanour betrays defeat rather than joy. At his feet lies a crumpled letter that probably contains the news of Smolensk's defeat by the Grand Duchy of Moscow in 1514, which was a crucial setback for the Polish-Lithuanian Commonwealth.
In stark contrast, the background reveals the grandeur of the royal court, where nobles and dignitaries enjoy the evening without concern. The revellers' detachment from Stanczyk's misery heightens the painting's emotional effect. The court continues its celebrations, oblivious to the geopolitical consequences of Smolensk's capture, while Stanczyk bears the burden of this national calamity.
“Matejko painted the conscience of Poland.” Agnieszka Morawinska
“Only the fool sees the truth.” Jan Ostrowski
“Laughter dies in the face of tragedy.” Marek Rostworowski
“Stanczyk mourns while Poland dances.” Waldemar Okon
“The jester carries the weight of history.” Maria Poprzecka
#1. Court Jester. Stanczyk was the famous jester at the Polish royal court.
#2. National Tragedy. The jester broods while the court celebrates, aware of coming disaster.
#3. Polish Symbol. The painting became a symbol of Polish national consciousness.
#4. Prophetic Vision. Only the fool sees the truth the powerful ignore.
#5. Historical Painter. Matejko was Poland's greatest historical painter.