Title of Product:

Stanislaw Wyspianski- the Polish Modernism’s star representing the Renaissance’s versatility

Image of the product:

Name of Author(s): A.M. Marczewski

Name of Producer: Local net information source regarding art: “viii-lo.krakow.pl”

Language/s of Product: Polish

Website of the product: wyspianski.viii-lo.krakow.pl/

Target Group: General audience

Overall Evaluation: excellent

Availability of community:
Newsgroup

Objectives & Structure:
Aspects to consider:
- The Website gathers all the artist’s compendium of plastic arts and other visualised and ornamentally elaborated conventions of art
- Students learn the artist’s manners exposed through his masterpieces, his special artistic attention and his insights’ exploration
- Stanislaw Wyspianski ’s artistic inclusion within the Polish Modernism and its formal and emotional manifersting
- Possibility of connecting the national atmosphere’s wide extension with Wyspianski’ s artistic collection

Description of contents:
Stanislaw Wyspianski was par excellence an artist of the Renaissance’s extension and versatility. He was the most spectacular personage of the Polish Modernism. He performed portraits, glass paintings, polychromic designs, illustrations, symbolic landscapes, sketches, graphics variations.
In his portraits, he presented the conversions of the artist’s and human being’s personality, he was displaying his critical and painful knowledge. The leaves of vines around his head in his self portrait expressed an allusion about his difficult condition of the health.
The portraits of Wyspianski’s children do not find any similar ones in the Polish art. They are standing out, because of the subtlety of performance, the depths of feelings inset and the tensely focused realistic observation with lyrical and poetical atmosphere (e.g. as in his portrait presenting his daughter Helena).
The sleeping trees, leafless branches constitute an aura of the mythical presentation of the death’s cycle and the nature’s resurrection. Its famous symbolism’s trans- motive figure emphasising that effect was the straw cover of a bush. Besides, the dance of the straw figure became a symbol of Poland’s sleeping dance of the lost national opportunities and stifling disillusions.
Within his glass paintings, Wyspianski was a creator of allegories, e.g. the glass allegoric figure of the Mercy completing one of his glass paintings is a girl from the Polish folk with long loose hair, who exposes as a manifesting sign of the fresh native encoded requisite a styled coloured kerchief.

Evaluation and Comments:

Description of how the website can be used with the students::
- The website is suitable with the examples of the national correspondence with the epochal grounds of the artistic plots and the artistic inclusion of the forms

Comments::
- Students found the artistic emotive parallelism within the potential of artistic preservation the hinted thematic developments

Evaluation Date: 01.09.2008.

Name of teacher: Gabriela Kurowska

Name of School: The Gallery of Art in Gdansk

Country: Poland

Subjects Taught: Fine Arts