23-879: (Redirected from Bilinski ) Biliński (feminine: Bilińska ) is a surname. Notable people with the surname include: Anna Bilińska (1854–1893), Polish painter Leon Biliński (1846–1923), Minister of Finance of the Republic of Poland, president of the Supreme National Committee and Galician ruler Marek Biliński (born 1953), Polish composer Mieczysław Biliński (1928–2014), Polish Law and Justice Party politician Roman Bilinski (born 2004), Polish-British racing driver Stanko Bilinski (1909–1998), Croatian mathematician and academician Sylwester Biliński, drummer of Polish punk band The Analogs Tadeusz Biliński (1892–1960), Polish politician, member of
46-551: A Cossack 's temperament, but a Polish heart" ( Polish : ma temperament kozaczy, ale serce polskie ). The family then moved to Central Russia, where Anna's first art teachers were Ignacy Jasiński and Michał Elwiro Andriolli , both deported by the Tsarist government to Vyatka for their part in the January Uprising of 1863–1864. In 1875, Bilińska's mother moved the family to Warsaw, enrolling her of-age children in
69-872: A book of anatomy for the artists. A large number of his paintings were stolen by Nazi Germany in World War II , and never recovered . Gerson was born in Warsaw during the November Uprising against the Russians. He enrolled at the School of Fine Arts in Warsaw in 1844 and graduated with honors in 1850. In 1853 Gerson received a scholarship to the St. Petersburg Academy of Arts , and spent two years studying historical painting with Alexey Markov . He graduated with
92-617: A silver medal in St. Petersburg and returned to Warsaw in 1855. He left for Paris in 1856 and studied under Léon Cogniet and others. Gerson came back to Poland in February 1858. He resided in Warsaw for the rest of his life, nevertheless continued to travel abroad, until the turn of the century. Gerson was a co-founder of the Fine-Arts Society "Zachęta" established in 1860. It was the first support-group of its kind in Warsaw under
115-561: A timely assessment of her work, proclaiming that Bilińska's paintings had become "part of the canon of Polish art," while simultaneously reflecting that the scholarship on her "entire œuvre and life story" remained, as yet, incomplete. The exhibition reviewers' consensus appeared to be that the show was finally bringing Bilińska the "recognition she deserves," and at the same time advancing further questions about her art and life. Wojciech Gerson Wojciech Gerson ( Polish: [ˈvɔjt͡ɕɛɣ ˈɡɛrsɔn] ; 1 July 1831 – 25 February 1901)
138-483: A year later on 8 April 1893. She was interred at Warsaw's Powązki Cemetery . Anna Bilińska is best known for her portraits, especially those featuring women, painted with great intuition. Her Self-Portrait with Apron and Brushes (1887) developed a new self-portrait pose by placing the artist in front of a model's backdrop, thus stating that she is her own model. Her portrait titled By the Window (1890), painted using
161-493: Is considered the first female Polish artist to receive a professional artistic education at an academic level and to earn critical acclaim abroad. She was included in the 2018 American Federation of Arts ' exhibition Women Artists in Paris, 1850–1900 . Shortly after Bilińska's father died in 1882, Bilińska's portrait, depicting the artist in deep mourning, was painted by her friend, Emmeline Deane, in Paris. This painting (now in
184-789: Is currently displayed at the National Museum in Warsaw . Her paintings can be found in the National Museum in Warsaw , National Museum in Wrocław , National Museum in Kraków , Victoria Art Gallery in Bath , Musée d'art moderne in Saint-Étienne , Lviv National Art Gallery , Gothenburg Museum of Art , State Museum of Pennsylvania , Berlin Musical Instrument Museum as well as private collections. Bilińska
207-644: The Royal Academy of Art in London . In 1891, they were displayed at an annual international exhibition in Berlin where she was awarded a gold medal. She lived in France until 1892, when she married Antoni Bohdanowicz, a doctor of medicine, and took his name. After their marriage, they returned to Warsaw, where she intended to open a Parisian-style art school for women, but fell ill with a heart condition and died
230-544: The Victoria Art Gallery ) evoked such emotional intensity of loss that, when exhibited in Paris and London, it "caused such a stir that it featured in a cartoon in Punch magazine." The work is considered to be significant because it was not common, at that time, for women painters to create formal salon-style portraits of other women painters, let alone to exhibit them. Bilińska's work was not well known through
253-420: The 20th century, even in her home country. Some credit the "prejudices of the time and her own early death and short career" for this lack of recognition, but, if so, it was a fate she held in common with numerous other gifted women painters of the 19th century. In 2017, thirty-seven of these "forgotten female artists" were featured in the traveling exhibition, Women Artists in Paris, 1850–1900. The show codified
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#1732772004222276-577: The conservatoire. Anna was a talented pianist, an activity considered a suitable achievement for a woman of her class and time. But painting, a more suspect pursuit, would become her preference. In 1877, she became a student of the painter Wojciech Gerson and began to exhibit her work at Warsaw 's Zachęta Society for the Promotion of Fine Arts ( Polish : Towarzystwo Zachęty Sztuk Pięknych ). Against her parents' wishes, she hired her own studio at 2 Nowy Świat Street, selling her paintings and paying
299-453: The foreign occupation. He began to teach art in his own workshop in 1865, and became professor at the School of Fine Arts ( future Academy of Fine Arts in Warsaw ) in 1872. He trained a generation of future Polish artists there, until his retirement in 1896. Gerson introduced the outdoor landscape trips and genre studies to his students with considerable impact on the art of Józef Chełmoński ,
322-428: The former Polish United Workers' Party Vanda Bilinski (born 1944), Swiss chess master See also [ edit ] Biliński coat of arms , a Polish Coat of Arms [REDACTED] Surname list This page lists people with the surname Biliński . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to
345-446: The link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Biliński&oldid=1220611725 " Category : Surnames Hidden categories: Articles with short description Short description is different from Wikidata All set index articles Anna Bili%C5%84ska Anna Bilińska ( pronounced : [ˈanna biˈliɲska] also known as Anna Bilińska-Bohdanowicz ; 8 December 1854 – 8 April 1893)
368-531: The monumental painter with gallery named after him at Sukiennice ; Leon Wyczółkowski , the leading field painter of the Young Poland movement; Antoni Piotrowski revered as far as Bulgaria for his epic war-scenes, as well as impressionist Władysław Podkowiński and his contemporaries. Gerson was granted the title of academic by the St. Petersburg Fine Arts Academy in 1873 and named a professor in 1878. Gerson also worked as an architect and art critic. He
391-448: The pastel technique, was regarded by 19th-century critics as Bilińska's most modern painting considering its subject matter, framing, and the use of light. It depicts a young girl leaning out of a window towards a sunlit garden and was probably painted during the artist's summer holiday spent in the fishing village of Boyardville . Among her notable male portraits is the portrait of American sculptor George Grey Barnard painted in 1890 at
414-557: The request of Alfred Corning Clark . She also painted still lifes , genre scenes and landscapes using oil watercolors and sometimes pastels. Two of Bilińska's paintings went missing after World War II : A Negress (1884) and The Italian Woman (1880). The former was rediscovered at an auction in Germany in 2011 and successfully reclaimed in 2012 thanks to the efforts of the Ministry of Culture and National Heritage of Poland . It
437-552: The studio's rent from her own funds. In early 1882, she accompanied her chronically ill friend Klementyna Krassowska on a journey to Munich , Salzburg , Vienna and northern Italy, before traveling to and settling in Paris, where she studied along with Marie Bashkirtseff and English artist Emmeline Deane at the Académie Julian , and where later she also taught. In 1884, her father, Jan Biliński, and Krassowska died, leaving her emotionally devastated. However, her future
460-472: The works of numerous 19th century women artists whose paintings had begun to be increasingly appreciated. The show was criticized for failing to fully explore why these artists "continue to be underestimated." In 2021 the National Museum in Warsaw held a major retrospective of Bilińska work, displaying over 120 paintings (including Deane's 1886 portrait). The exhibition's biographical notes provided
483-568: Was a Polish painter , known for her portraits. A representative of realism , she spent most of her life in Paris, and is considered the "first internationally known Polish woman artist." She was born 1854 in Zlatopol (formerly a frontier town of the Russian Empire , today a part of Novomyrhorod , Ukraine ) as Anna Bilińska , and spent her childhood there with her father, a Polish physician. Of her background, she joked that she "ha[d]
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#1732772004222506-547: Was a Polish painter, educator, architect and art critic who was one of the foremost representatives of the Polish school of Realism during the foreign Partitions of Poland . He served as long-time professor of the School of Fine Arts in Warsaw , and taught future luminaries of Polish neo-romanticism including Józef Chełmoński , Leon Wyczółkowski , Władysław Podkowiński , Józef Pankiewicz and Anna Bilińska-Bohdanowiczowa among others. He also wrote art-reviews and published
529-647: Was financially secured in Krassowska's last will and she was taken care of by fellow painter Maria Gażycz who lived in Normandy . In 1889, she presented her Self-Portrait at the Exposition Universelle in Paris for which she was awarded a silver medal and was granted the right to exhibit her works out of competition during future editions of the event. This proved to be her first major international success. In 1889, her works were exhibited at
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