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344:, who symbolizes the punishment Jungingen receives for the Order raids and pillages against the common folk. Those symbolic figures are one of many liberal interpretation that Matejko took with his painting; furthermore, modern scholarship indicates that he died in a cavalry duel, and not at the hands of a peasant.
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in an official ceremony, in recognition of his work and his position as one of the most respected Polish artists. The painting was sold that year to Dawid
Rosenblum, a private individual in Warsaw. Displayed in numerous international exhibitions, in 1902 the painting was bought from Rosenblum's heirs
646:
The painting has been called a masterpiece depiction of a battle scene, and much more than a simple depiction of a bloody battle. It is a complex picture, requiring more than a cursory look; a French critic, viewing it in Paris in 1879, declared that it was a museum in its own right, requiring eight
146:, dressed in red with a raised sword. The painting has been both hailed and criticized for its complexity. It is one of Matejko's most recognizable works, and has likely contributed to the popular image of the battle of Grunwald, and its enduring fame in Polish and Lithuanian consciousness.
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Matejko based the painting in part on a description of the battle in Długosz' chronicles, which accounts for several historical inaccuracies. At the same time, he was meticulous about correctly depicting the terrain of the battle, having visited the site of the conflict in 1877.
297:(Jogaila), who is visible in the second plan, mounted, in the top right side. According to Scales and Zimmer, by focusing on Vytautas rather than Jagiełło, Matejko stressed the importance of Lithuania for Poland, and the value of cooperation between the two countries in the
305:, who attributed greater importance to Vytautas than to Jagiełło, who, by some Polish sources, commanded the battle. While Lithuanian sources claim that Vytautas The Great have got the very major role in the battle by actually commanding troops and performing the decisive
647:
days of study before one could properly appreciate it. At the same time, critics have pointed to the unrealistic depiction of the battle, and some anachronistic accessories present in the painting. Others have criticized the painting for being too crowded and chaotic.
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Matejko combined three key parts of the battle into one tableau: an opportunistic attack by German knight Kökeritz on Jagiełło, the death of the Grand Master, and the taking of the
Teutonic camp (in the top left corner). Unlike many other paintings of battles, the
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The painting, one of
Matejko's most recognizable works and one of the best known paintings in Poland, likely has contributed to the popular image of the battle of Grunwald, and its enduring fame in Polish consciousness. The painting inspired
257:, who is considered a national hero in that country. By the 2000s, the painting needed restoration. In 2010, the poor condition of the painting prevented its inclusion in a special exhibition at
261:
to mark the 600th anniversary of the battle. The painting was renovated, with the work finished in 2012. After restoration the painting is once again on display at the
National Museum.
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490:(also known as Skunaczewski) is another Polish knight, standing next to Zyndram; after the battle he would be sent with the capture standard to Kraków, as a symbol of victory;
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666:, reminding him of the Polish victory over the Teutons. Overall, the painting was intended to raise the spirits of the Polish people during the period when Poland had been
583:. Modern historians have however failed to associate this figure with any historical person, noting that there was no bishop of this or similar time at contemporary Lübeck;
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Matejko began collecting materials for the painting in 1871. He started painting the canvas some time in 1872 and finished it in 1878. Soon afterwards, he received a
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does not separate the viewer from the action; instead it places him at the center of it. Matejko said he felt like a "possessed man" while he made the painting.
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were executed by the
Germans when they refused to divulge its location despite interrogation and torture. The painting survived the war years hidden near
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implies that
Matejko saw Jungingen's death as a retribution for taking arms against another Christian ruler. Next to the spearman is an
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324:. Dressed in white Order garb and riding a white horse, von Jungingen is being killed by two anonymous figures, which historian of art
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293:, dressed in red with a raised sword. Vytautas holds a more prominent position in the painting than his cousin, Polish king
496:, German knight and one of the Teutonic Order's leaders, witnesses his leader's death from the left side of the painting;
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is to the right of the painting as well, escaping to organize the defense of the remains of the Order's territory;
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is dying. Matejko portrayed Konrad as a traitor, whereas German knight von
Lichtenstein is shown dying with honor;
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862:""Bitwa pod Grunwaldem" w ruinie - Wiadomości i informacje z kraju - wydarzenia, komentarze - Dziennik.pl"
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in 1410. The canvas dates to 1878 and is one of the most heroic representations of the history of
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was loaned to
Lithuania, where it garnered a positive reception because it prominently features
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884:"Dzieło Matejki ocalone dla potomnych Ministerstwo Kultury i Dziedzictwa Narodowego - 2012"
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is shown as one of Jagiełło's advisers. Near Władysław are also: his relative,
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to the right of
Zawisza, in a shining steel helmet, is another Polish knight,
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971:"The Turning Point in the Battle of Tannenberg (Grunwald/Žalgiris) in 1410"
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426 cm × 987 cm (168 in × 389 in)
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identifies as "savage looking
Lithuanian peasants". One of them wields a
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in general. In the center of the painting is the Lithuanian grand duke
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484:, another Polish knight, is holding a sword over von Jungingen's head;
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474:, Polish knight, is holding the Polish banner in the center, next to
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Art Journal, ISSN 0004-3249, 06/1992, Volume 51, Issue 1, p. 57 (
613:. On the ground under Oleśnicki is the body of the German knight
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another German knight is clutching von Salzbach's garb, this is
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946:"Tomas Baranauskas. Žalgirio mūšis Lietuvos istorikų darbuose"
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who tried to charge Jagiełło, but was felled by his entourage.
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and the struggles of Eastern European principalities against
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to the right of von Plauen is a Polish knight and dignitary
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Other notable figures depicted in the painting include:
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is a painting by Matejko that portrays events from the
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physical destruction of all artifacts of Polish culture
817:"Z Matejką przez polskie dzieje: Bitwa pod Grunwaldem"
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is captured by a wild looking warrior identified as a
142:; another central figure is the Lithuanian grand duke
525:, a Czech ally of Poland, is killing a German knight
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behind von Plauen is a figure Matejko identified as
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The painting's main focus is the death scene of the
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842:(in Polish). Interklasa: polski portal edukacyjny
819:(in Polish). Interklasa: polski portal edukacyjny
650:The painting can be seen as Matejko's warning to
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1261:Astronomer Copernicus, or Conversations with God
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864:(in Polish). Wiadomosci.dziennik.pl. 2010-02-02
670:and no longer existed as an independent state.
316:Another central scene depicts the death of the
313:, a patron of Poland, overlooks the fighting.
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1075:"Kto jest kim na obrazie Jana Matejki, cz. 3"
1031:"Kto jest kim na obrazie Jana Matejki? Cz. 2"
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840:"Z Matejką przez polskie dzieje: Hołd pruski"
332:(one of the objects with the claim to be the
241:Restored after World War II, since 1949 this
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678:, who mentioned it in several of his works.
917:. Cambridge University Press. p. 222.
309:manoeuvre. In the skies above the carnage,
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187:Society for the Encouragement of Fine Arts
161:displayed in the National Museum in Warsaw
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882:Centrum Informacyjne MKiDN (2012-09-21).
1383:Paintings in the National Museum, Warsaw
914:Power and the nation in European history
713:The Political Censorship of Jan Matejko.
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218:, who engaged in a systematic action of
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1229:Blind Veit Stoss with his granddaughter
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751:"Jan Matejko: "Bitwa pod Grunwaldem""
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642:Wyspiański's parody of the painting
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911:Len Scales; Oliver Zimmer (2005).
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605:, Deputy Chancellor of the Crown,
543:of Kobylany, later a castellan of
318:Grand Master of the Teutonic Order
191:Towarzystwo Zachęty Sztuk Pięknych
136:Grand Master of the Teutonic Order
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1328:History of Civilization in Poland
1136:Understanding Matejko's painting
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1073:Roman Daszczyński (2010-07-14).
977:from the original on 2016-08-15.
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200:was hidden by Poles, during the
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1101:A history of Poland in painting
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226:offered a bounty of 10 million
1309:The Constitution of 3 May 1791
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105:Crown of the Kingdom of Poland
103:and the victory of the allied
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611:Siemowit IV, Duke of Masovia
501:Casimir V, Duke of Pomerania
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1269:Zawieszenie dzwonu Zygmunta
599:cardinal Zbigniew Oleśnicki
590:, father of the chronicler
581:Krzysztof, bishop of Lübeck
245:has been on display in the
196:Like many other works, the
193:) and displayed in Warsaw.
172:. National Museum in Kraków
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1221:The Sermon of Piotr Skarga
1104:. Interpress. p. 11.
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247:National Museum in Warsaw
123:. It is displayed in the
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1373:Paintings by Jan Matejko
1301:The Baptism of Lithuania
1253:Stephen Báthory at Pskov
352:, selected battle themes
283:Grand Duchy of Lithuania
109:Grand Duchy of Lithuania
527:Heinrich von Schwelborn
514:is taken prisoner, and
299:Polish–Lithuanian union
16:Painting by Jan Matejko
1213:Poland - The Year 1863
1138:The Battle of Grunwald
997:"Spacer po polu bitwy"
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507:z Góry and his squire;
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159:The Battle of Grunwald
1098:Janusz Wałek (1988).
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552:Marquard von Salzbach
516:Kuno von Lichtenstein
482:Zyndram of Maszkowice
472:Marcin of Wrocimowice
425:Zyndram of Maszkowice
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676:Stanisław Wyspiański
572:future Grand Master
512:Konrad VII the White
499:near von Tettingen,
494:Werner von Tettingen
385:Ulrich von Jungingen
322:Ulrich von Jungingen
202:occupation of Poland
180:from the council of
140:Ulrich von Jungingen
1029:Roman Daszczyński.
995:Roman Daszczyński.
574:Heinrich von Plauen
541:Domarat Grzymalczyk
488:Mikołaj Skunarowski
330:Saint Maurice Spear
1293:The Babin Republic
1277:Battle of Grunwald
1145:Battle of Grunwald
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624:Battle of Grunwald
369:Vytautas the Great
350:Battle of Grunwald
295:Władysław Jagiełło
291:Vytautas the Great
271:Battle of Grunwald
251:Battle of Grunwald
232:Polish Underground
198:Battle of Grunwald
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144:Vytautas the Great
101:Battle of Grunwald
92:Battle of Grunwald
24:Battle of Grunwald
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1111:978-83-223-2115-7
924:978-0-521-84580-9
711:Batorska, Danuta.
652:Otto von Bismarck
338:Jarosław Krawczyk
275:history of Poland
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634:Significance
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259:Wawel Castle
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1331:(1888–1889)
1288:(1879–1882)
1190:Jan Matejko
1117:16 February
668:partitioned
662:) targeted
660:Kulturkampf
592:Jan Długosz
342:executioner
303:Jan Długosz
265:Composition
97:Jan Matejko
42:Jan Matejko
1362:Categories
1084:2012-08-01
1040:2012-08-01
1006:2012-08-01
956:2015-02-01
890:2014-04-03
868:2012-02-17
760:2012-02-17
682:References
658:policies (
66:Dimensions
1197:Paintings
1147:Explained
930:14 August
523:Jan Žižka
401:Jan Žižka
279:Lithuania
121:Lithuania
111:over the
1205:Stańczyk
975:Archived
654:, whose
476:Vytautas
255:Vytautas
224:Goebbels
74:Location
1339:Related
755:Histmag
597:future
560:Cossack
185:by the
178:scepter
150:History
1312:(1891)
1304:(1888)
1296:(1881)
1280:(1878)
1272:(1874)
1264:(1873)
1256:(1872)
1248:(1869)
1240:(1866)
1237:Rejtan
1232:(1865)
1224:(1864)
1216:(1864)
1208:(1862)
1108:
921:
545:Lublin
281:, the
236:Lublin
182:Kraków
129:Warsaw
117:Poland
82:Warsaw
56:Medium
38:Artist
717:JSTOR
558:or a
556:Tatar
228:marks
216:Nazis
1153:HUNT
1119:2012
1106:ISBN
932:2011
919:ISBN
848:2011
825:2011
277:and
269:The
119:and
107:and
89:The
51:1878
48:Year
204:by
127:in
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