‘First-of-Its-Kind’ Exhibition: ‘Young Poland’ Art Revealed in Japan

by admin | Mar 30, 2025 | art, artwork, culture, exhibitions, poland

Over 150 pieces such as paintings, drawings, and prints from the 19th and 20th centuries are currently being exhibited in Japan. This collection has been referred to as a ‘treasure trove’ featuring some of the most renowned instances of Polish Modernism.

The exhibition holds significant importance for Polish-Japanese cultural ties. For the first time in the Land of the Cherry Blossoms, it offers an opportunity to display artworks that form the core of our national heritage,” stated Polish Minister of Culture and National Heritage Hanna Wróblewska at the formal unveiling ceremony.

Dr. Andrzej Szczerski, the director of the National Museum in Krakow, where many examples of artisanal crafts are displayed regularly, commented that this event marked “the biggest exhibition of Young Poland’s art ever held in Japan.”

“The numerous audience and media representatives who attended the opening emphasised the artistic importance of the works on display and the significance of the exhibition, showing how the art of Young Poland was able to express both national content and speak the universal language of art,” he said.

The exhibition takes up the whole floor at MOMAK (The National Museum of Modern Art, Kyoto), and it is organized around various themes that touch upon inspirations derived from nature, history, Japanese culture, and Polish national style.

Polish modernist masterpieces in the center of Japan

“The narrative presented here revolves around Polish history; its opening chapter is depicted through the creations of Jan Matejko and Artur Grottger. However, most importantly, this period is illuminated by the contributions of Young Poland’s artists. During the transition from the 19th to the 20th century, these artists were instrumental in forging a sense of national identity and ensuring that Poland remained prominent and influential within European artistic circles, even when it was absent as a nation-state on world maps,” states the exhibition catalog.

Included among the displays are creations by esteemed Polish artists like Olga Boznańska, Jacek Malczewski, Józef Mehoffer, Władysław Podkowiński, Józef Pankiewicz, and Stanisław Wyspiański.

Among the artworks visitors can enjoy are Włodzimierz Tetmajer’s “The Artist’s Family,” Leon Wyczółkowski’s “Stańczyk,” and Józef Pankiewicz’s “Czeszysta.” Also featured are several works by Jacek Malczewski such as his ‘Portrait of Feliks Jasieński,’ ‘Girl with Chrysanthemums’ and ‘Florists’ created by Olga Boznańska. Additionally, you’ll find pieces like Alphonse Karpinski’s “Jane with a Japanese Doll” along with various paintings from Wojciech Weiss including “Musicians on the Bridge”, “Poppies,” and “Fears”. Lastly, there is “The Bearded Woman” painted by Władysław Ślewiński.

At the MOMAK exhibition, you can also see two previously unexhibited works by Boznanska: “Tulips” and “Mrs. L’s Portrait.” These pieces were acquired during the artist’s lifetime by Magosaburo Oohara, a renowned Japanese businessman, art collector, and benefactor. Today, they form part of the holdings at the Ohara Museum of Art in Kurosaki, Japan, which houses the entirety of Mr. Oohara’s collection.

The ‘Young Poland’ movement – characterized by revolt, liberty, and self-expression

As art historian and founder of the ‘Outside the Frame’ platform, Maja Michalak points out that Young Poland represents a distinctive and highly varied era in painting. Similar to movements like Young Germany or Young Scandinavia, various regions across Europe adopted analogous names for their artistic trends, aiming to highlight the novelty and pioneering spirit inherent in these styles at the time.

“During this period, the hallmark was the expression of defiance, the urge for liberty, and the aspiration to view art from a new perspective. This also enabled them to showcase what mattered most to each individual artist,” explains Michalak.

“The artists focused more on expressing their personal uniqueness by incorporating the multiple overlapping styles from that era: Art Nouveau, Impressionism, Symbolism, as well as Expressionism. Each artist displayed these influences in somewhat distinct manners,” she explains.

The allure of ‘Japonism’ — a passion that bridged two civilizations.

One distinctive feature of the exhibition in Kyoto is the chance to explore how Japanese aesthetic principles impacted Polish artists over a hundred years ago.

Michalak points out that we must discuss the prevalent Japonisme during this period, an intense attraction to East Asian artistic styles, which captivated many artists. They incorporated various aspects like fans and kimonos—items being brought over and depicted in their works—as well as themes such as dragonflies and peacocks, symbols closely linked to Asian traditions. Additionally, they adopted compositional techniques involving diagonals and increased asymmetry, concepts borrowed from Japanese woodblock prints.

Urszula Kozakowska-Zaucha, the curator of the Kyoto exhibit, highlights the significant contribution made by a prominent Polish art critic and collector toward introducing Japanese art to Poland: “These exceptional artworks are displayed alongside Japanese woodblock prints, illustrating the connection between Polish art and Japan. A key figure featured prominently in this exhibition is Feliks ‘Manggha’ Jasieński, an influential art collector whose personal collection merits its own segment. His enthusiasm for gathering such pieces and his close ties with the Young Poland artists from Kraków helped popularize Japonisme within their circle.”

Jasieński gathered exemplary pieces of Japanese art for his collection, making these works accessible to artists who could borrow them when needed. Ultimately, in 1920, he contributed his complete art collection to the National Museum in Krakow.

He also enlisted artworks from artists influenced by Japan, whom he adored, notes Michalak. The pairing of Young Poland and Japan in this exhibit is intentional. This arrangement could facilitate interaction between the Japanese audience and these pieces since they would recognize cultural components familiar to them.

‘Girl with chrysanthemums’ – the symbol of the exhibition and Boznanska’s renaissance

The promotional materials for the exhibition showcased Olga Boznańska’s painting ‘Girl with Chrysanthemums,’ which stands out as one of the era’s most renowned pieces from the Young Poland movement. This selection appears intentional—Boznańska enjoys renewed acclaim after her passing, and her nuanced, introspective portraits resonate well with modern audiences. Notably, within the animated promotion for the exhibit, the once somber young girl depicted in the artwork now beams joyfully.

Olga Boznańska stands among those female artists who dedicated their entire lives to artistic creation,” says Michalak. “She sought equal chances for creativity just like men do and wished to receive similar treatment from society.” The art critic further notes, “Her career was her top priority, showcasing her strong resolve in this pursuit.

Boznańska lived primarily in Paris, where she gained significant recognition for her emotionally charged portraits that were rich with psychological insight.

“The style of painting is highly distinctive and symbolic of Boznańska’s work. Her skillful technique captures an intimate closeness to the subjects depicted, infused with deep emotional resonance. This approach can be likened to how the Baroque painter Diego Velázquez wielded his brush; indeed, Boznańska drew inspiration from him as well as contemporaries like Édouard Manet, James McNeill Whistler, or Berthe Morisot. Such psychologically nuanced portraiture is quintessential to Olga Boznańska’s legacy,” explains Michalak.

“Generally speaking, I believe that the period known as Young Poland represents one of the finest eras in our country’s artistic history, particularly within Polish painting,” states Michalak. “This era boasts an impressive array of artists whose work is captivating both for its historical significance and the messages they sought to communicate, as well as for its aesthetic value and visual appeal. Be it works by Boznańska, Pankiewicz, Mehoffer, or Ślewiński—these masterpieces exemplify exceptional artistry. In my view, such talent ought to serve as our nation’s cultural ambassador and become synonymous with high-quality Polish paintings internationally.”

The exhibition titled “Young Poland: Polish Art 1890-1918” will remain open in Kyoto up until June 29th.