For today’s article, I wanted to do a little feature on the work of Jan Matejko. But to really do this man’s work justice, I thought it would be fun to make this a special dual exhibition- bringing together two of his most extraordinary paintings.
The poor, downhearted jester reminds me of Launce the fool and his monologue in Shakespeare’s Two Gentlemen of Verona, Act 4, Scene 4:
LAUNCE: “When a man's servant shall play the cur with him, look you, it goes hard: one that I brought up of a puppy, one that I saved from drowning when three or four of his blind brothers and sisters went to it. I have taught him, even as one would say precisely, 'Thus I would teach a dog.' I was sent to deliver him as a present to Mistress Silvia from my master, and I came no sooner into the dining chamber but he steps me to her trencher and steals her capon's leg. O, 'tis a foul thing when a cur cannot keep himself in all companies! I would have, as one should say, one that takes upon him to be a dog indeed, to be, as it were, a dog at all things. If I had not had more wit than he, to take a fault upon me that he did, I think verily he had been hanged for't. Sure as I live, he had suffered for't. You shall judge. He thrusts me himself into the company of three or four gentleman-like dogs under the Duke's table. He had not been there -- bless the mark -- a pissing-while but all the chamber smelt him. 'Out with the dog,' says one. 'What cur is that?' says another. 'Whip him out,' says the third. 'Hang him up,' says the Duke. I, having been acquainted with the smell before, knew it was Crab, and goes me to the fellow that whips the dogs. 'Friend,' quoth I, 'you mean to whip the dog?' 'Ay, marry, do I,' quoth he. 'You do him the more wrong,' quoth I; ''twas I did the thing you wot of.' He makes me no more ado, but whips me out of the chamber. How many masters would do this for his servant? Nay, I'll be sworn, I have sat in the stocks for puddings he hath stol'n, otherwise he had been executed. I have stood in the pillory for geese he hath killed, otherwise he had suffered for't. Thou think'st not of this now. Nay, I remember the trick you served me when I took my leave of Madam Silvia. Did not I bid thee still mark me and do as I do? When didst thou see me heave up my leg and make water against a gentlewoman's farthingale? Didst thou ever see me do such a trick?”
Thank you for another introduction to a masterful artist. The second picture is like something from a nightmare with layer upon layer of horror from which one cannot escape and (though I marvel at the composition) the more detail I see, the more it makes me recoil! - whereas the first picture has completely the opposite effect - everything about it, the stillness, the pain and the dissonance draws me in! So I have to say the first is my favourite. I am always fascinated by the historical background but you are right that these paintings each convey so much without any prior knowledge necessary.
I totally agree with you, Jo. You put it so well about how the larger picture makes us recoil the more we look at it, whereas the Jester just continues to draw us in further.
Wow! Really extraordinary work -as well as your own historical backgrounding of Majteko and his inspiration here. I was also caught right away when I saw the artist’s name as it rhymes with Wetiko, a Native American name for malevolent psychic forces humans fall prey to and also akin to egoic compulsion or the Jungian concept of the shadow. Is it synchronistic that I am currently exploring this theme with a
Thanks a lot Margaret. That’s so interesting you find that connection to the Native American Wetiko. I’ve not heard of that before - but am a bit of a fan of Jung’s work too. So always love to hear of a bit of synchronicity.
Highly perceptive! All I knew about the Battle picture is that the Nazis failed find it, and that it’s one the works identified for evacuation westward in case of a Russian invasion
Thanks Mike. Yes, great knowledge about it being identified for evacuation too.
I think I recall that the painting of the Jester also has a bit of wartime history too in terms of being looted. But I’d have to re read about that to remember it fully!
Wonderful experience reading your writing. What a masterful artist and observant aware human being. Thank you
Thanks a lot. He really is a master, so that makes it very easy to write about this kind of work!
Thank you, George, for bringing us wonderful works of art and the stories that accompany them.
My pleasure, always! Thanks for reading.
Great story and interpretation of these wonderful paintings. You make me see so much more than I would otherwise. Thanks George.
Timely! Thanks
Having stood in front of the Battle of Grunwald a few weeks ago, I can attest to its epic scale.
Wow, really? You’re so lucky to have seen it in real!!
Thanks, happened to be in Warsaw for work so ducked into the National Museum
I love that. Any excuse to dive into a Museum!
Such high emotion! Thank you for these remarable paintings! I was unfamiliar with the artist.
Thoughtful writing thank you
Thank you. Much appreciated.
Wonderful, George.
The poor, downhearted jester reminds me of Launce the fool and his monologue in Shakespeare’s Two Gentlemen of Verona, Act 4, Scene 4:
LAUNCE: “When a man's servant shall play the cur with him, look you, it goes hard: one that I brought up of a puppy, one that I saved from drowning when three or four of his blind brothers and sisters went to it. I have taught him, even as one would say precisely, 'Thus I would teach a dog.' I was sent to deliver him as a present to Mistress Silvia from my master, and I came no sooner into the dining chamber but he steps me to her trencher and steals her capon's leg. O, 'tis a foul thing when a cur cannot keep himself in all companies! I would have, as one should say, one that takes upon him to be a dog indeed, to be, as it were, a dog at all things. If I had not had more wit than he, to take a fault upon me that he did, I think verily he had been hanged for't. Sure as I live, he had suffered for't. You shall judge. He thrusts me himself into the company of three or four gentleman-like dogs under the Duke's table. He had not been there -- bless the mark -- a pissing-while but all the chamber smelt him. 'Out with the dog,' says one. 'What cur is that?' says another. 'Whip him out,' says the third. 'Hang him up,' says the Duke. I, having been acquainted with the smell before, knew it was Crab, and goes me to the fellow that whips the dogs. 'Friend,' quoth I, 'you mean to whip the dog?' 'Ay, marry, do I,' quoth he. 'You do him the more wrong,' quoth I; ''twas I did the thing you wot of.' He makes me no more ado, but whips me out of the chamber. How many masters would do this for his servant? Nay, I'll be sworn, I have sat in the stocks for puddings he hath stol'n, otherwise he had been executed. I have stood in the pillory for geese he hath killed, otherwise he had suffered for't. Thou think'st not of this now. Nay, I remember the trick you served me when I took my leave of Madam Silvia. Did not I bid thee still mark me and do as I do? When didst thou see me heave up my leg and make water against a gentlewoman's farthingale? Didst thou ever see me do such a trick?”
Thanks a lot.
I love that this made you think of Launce’s monalogue. What a great connection!
Thank you for another introduction to a masterful artist. The second picture is like something from a nightmare with layer upon layer of horror from which one cannot escape and (though I marvel at the composition) the more detail I see, the more it makes me recoil! - whereas the first picture has completely the opposite effect - everything about it, the stillness, the pain and the dissonance draws me in! So I have to say the first is my favourite. I am always fascinated by the historical background but you are right that these paintings each convey so much without any prior knowledge necessary.
I totally agree with you, Jo. You put it so well about how the larger picture makes us recoil the more we look at it, whereas the Jester just continues to draw us in further.
Both interesting and so informative your comments and the details with your interpretation provide us with invaluable insight, many thanks.
Really glad to know you enjoyed it. Thanks for reading.
Wow! Really extraordinary work -as well as your own historical backgrounding of Majteko and his inspiration here. I was also caught right away when I saw the artist’s name as it rhymes with Wetiko, a Native American name for malevolent psychic forces humans fall prey to and also akin to egoic compulsion or the Jungian concept of the shadow. Is it synchronistic that I am currently exploring this theme with a
Thanks a lot Margaret. That’s so interesting you find that connection to the Native American Wetiko. I’ve not heard of that before - but am a bit of a fan of Jung’s work too. So always love to hear of a bit of synchronicity.
Highly perceptive! All I knew about the Battle picture is that the Nazis failed find it, and that it’s one the works identified for evacuation westward in case of a Russian invasion
Thanks Mike. Yes, great knowledge about it being identified for evacuation too.
I think I recall that the painting of the Jester also has a bit of wartime history too in terms of being looted. But I’d have to re read about that to remember it fully!