User:MarcelinaMajerczyk/Reception of the Jews, from the series “History of Civilization in Poland”

Reception of the Jews
Artist	Jan Matejko
Year	1889
Medium	oil on canvas
Subject	painting
Dimensions	140.4cmx199cm
Location	Royal Castle in Warsaw

Reception of the Jews, alternatively known as the Admission of the Jews in the Year of 1096 - the third painting in the series of twelve images depicting the History of Civilization in Poland by Jan Matejko. Painted using oil on canvas between May 9th and August 1889, it has dimensions of 140.4×199 cm. Commissioned by Arnold Rappaport and purchased by him, the entire series is currently housed in the collections of the Royal Castle in Warsaw.

Picture description

The depiction conveys the concept of showcasing the high level of intellectual and moral standards in Poland during the Piast dynasty, particularly during the rule of Prince Władysław Herman. The ruler, along with his family and court, is portrayed in a moment of listening to Jewish exiles pleading for asylum. Benjamin of Tudela is shown kneeling, speaking on behalf of the Jewish refugees. Herman is presented as an elderly figure, adopting a pose and gesture of deep contemplation, reflecting upon the positive decision he has made in response to their plea.

To the left of Herman, his two sons stand; Bolesław Krzywousty is depicted as a young man in armor, holding a sword, symbolically expressing his favor towards the newcomers, perhaps in the hope of gaining resources for expeditions. The second, older brother, Zbigniew, shows a completely different reaction, displaying envy and resentment, expressing a dislike for the newcomers. He releases a falcon on pigeons, foreshadowing his future prohibition of Jews settling in Mazovia, part of his district. Behind the ruler stands Sieciech, portrayed as a person of utmost trust, exerting influence on the ruler's decisions, as indicated by his hand symbolically placed on the throne. In his other hand, there is a bag of treasures, suggesting bribery. This also applies to Władysław Herman's wife, Judith. The princess stands on the gallery, observing a beautiful gift, a Spanish casket, praised by the renowned sculptor Leopardus standing beside her, which positively influences the decision. Above the window, Stefan Bishop and his successor Alexander lean out, discussing the completion of Gniezno Cathedral.

Returning to the group of people surrounding the ruler – behind Sieciech, serving as guards, stand knights Skarbimir and Żelisław. To the right of this group is Magnus, the former governor of Wrocław, smirking at the sight of a dog escaping the control of a servant carrying treats for the guests. Nearby, Saint Otto expresses sorrow, interpreting the event as undermining the Christian faith. Archbishop Martin, standing close by, holds a ready edict in his hands, in which the incident has already been favorably described. Additionally, there are some symbolic aspects of positive agreement, as described by Jan Matejko himself:

The prosperity of the Jews is heralded by the fluttering banner under which the escorting procession will continue to lead them back even more favorably. However, just as in the capital city of Płock, so too will it be forbidden for them to remain in the rich, though straw-covered, Mazovia beyond the 13th century.

Historical accuracy

Matejko presented us with a fictional event that is not fully documented historically. However, the scene refers to a genuine phenomenon of the influx of Jewish settlers into Polish lands, fleeing from Western Europe after the pogroms triggered by preparations for the First Crusade. This historical occurrence resulted in the migration of Jews throughout the 11th century and beyond.

The inspiration for dating the painting comes from the pogrom against the Jewish community that took place in the year 1096 in one of the oldest Jewish communities in Central Europe, located in Prague, Czech Republic.

The scene unfolds in front of the Romanesque cathedral in Płock, perceived at that time as the capital of the country and indeed the residence of Władysław Herman from the year 1080. On the right side of the painting, you can observe a porch and a two-part window (biforium), representing a fragment of the painting that genuinely existed in the 11th century facing the cathedral.

The figure kneeling before the prince, Benjamin of Tudela, like all those depicted in the painting, is an authentic character but lived around 100 years after the portrayed event. He was a Jewish traveler, likely a merchant journeying through Europe. Additionally, he probably never reached Polish lands. Nonetheless, he represents a significant element in the context of Jewish cultural history.

Both sons of the prince, for the purposes of the painting, have been "fictionally" portrayed. They are authentic figures, but the historical accuracy has been somewhat stretched. Bolesław Krzywousty, for instance, would be around 11 years old at that time, and Zbigniew should not be physically present in that specific place and time. This is because, during the depicted period, Zbigniew was imprisoned by the voivode Sieciech for leading a rebellion against his father. He was only restored to public life in 1097. However, for the sake of the painting's narrative and meaning, the presence of both sons is crucial.

The message and meaning of the image

Matejko's inclusion of numerous individuals associated with the arts, particularly the artist Leopardus, who served as the chaplain at Bolesław Krzywousty's court from 1129 to 1137, against the backdrop of historic architecture aimed not only to highlight the main theme but also to draw attention to the high level of culture and civilization at the princely court in Płock. This, in turn, reflects on the broader cultural environment of the Piast Poland.

The series of paintings "History of Civilization in Poland" predominantly focuses on the Piast era, with events from this period depicted in six out of twelve artworks. Therefore, there are six works centered around this theme, with one specifically created to illustrate Matejko's vision of the history of Polish civilization. The artist comments on this as follows:

After the pillaging, murders, and conflagrations carried out in Europe, Jews find respite and shelter in Poland under the protection of Władysław Herman.

However, from the perspective of public interests, the artist expresses his negative opinion here, depicting concern about the potential exploitation of Polish generosity by the newcomers. They appear as beggars who simultaneously attempt to win the favor of the prince and his entourage through bribery. Herman is hospitable and tolerant in good faith; his deed is noble but, at the same time, a political mistake, as suggested by the forebodings of other characters. According to Jarosław Krawczyk, [...] the third sketch tells the story of bribery, through which an ethnically foreign element entered the history of Poland. [...] the guiding idea for the artist is to show the negative consequences of a policy excessively serving "civilization" instead of the Church and the State throughout the developmental stages.

Sketch for painting

Before the creation of the final version, four compositional drawings were made (later given as a gift to Gorzkowski). The final sketch was done on a mahogany board with dimensions of 21.5 × 29 cm, featuring a dominant brown color tone and a lack of detail. Compared to the painting, the similarity is only evident in the general composition scheme, with significant modifications through the rearrangement of groups.

In 1937-38, the painting was in the possession of the artist's granddaughter, Maria from Kirchmayer's Nowińska.

The aspect of dating the creation of the final sketch is interesting here, and it is not entirely known. It is confirmed to have existed in 1889, as Matejko's painting, along with a commentary, was already completed. Arnold Rappaport, a Galician lawyer and political activist of Jewish descent, commissioned the painting in large dimensions, possibly influencing the subject matter of the work in some way.

Certain conjectures arise, and difficulties emerge as it does not fit into sketches themed around the State and the Church or others focused on culture and science. However, according to J. Krawczyk:

In the series depicting civilization, [the scene of reception of the Jews] seems entirely fitting, as nothing better can symbolize the high level of civilization in a young nation than this act, which embodies both hospitality and tolerance.

He also points out the place of the Admission of the Jews [...] in a series that was supposed to depict all the obstacles to civilization in Poland.

These obstacles already appear in earlier paintings from the series (Baptism of Lithuania – August, First Sejm in Łęczyca – October, Lignica Disaster – November). Therefore, it can be inferred that the sketch of the painting was created in the second half of 1888, between September and November, shortly after Matejko completed two sketches programmatically related to the University and the Baptism of Lithuania. Thus, the latest possible date is November, as in December, Matejko was occupied with painting sketches for "The Return of Rus" and the Constitution of May 3rd.

Bibliography

• Matejko. Obrazy olejne. Katalog, pod red. Krystyny Sroczyńskiej, Warsaw 1993
• Ewa Suchodolska, Marek Wrede, Jana Matejki Dzieje cywilizacji w Polsce, Warsaw 1998
• Wyjaśnienie dwunastu szkiców przedstawiających dzieje cywilizacji w Polsce / napisał Jan Matejko., Jan Matejko, Cracow 1889
• Cykl obrazów „Dzieje cywilizacji w Polsce” Jana Matejki: wystawa objazdowa Muzeum Narodowego w Warszawie, katalog oprac.: Julia Straszewska, Janina Ruszczycówna, Maria Charytańska, Warsaw 1948

[[Category:Paintings by Jan Matejko]]