Bust of Natalia Andriollowa

Tadeusz Baracz

Basic information

ID: С-I-580
Author: Tadeusz Baracz
Name: Bust of Natalia Andriollowa
Date of creation: 1893
Country: Austro-Hungarian Empire
Culture: Modern times
Technique: modeling
Material: terracotta
Dimensions (height x width x depth, cm): 23.5 x 13 x 8

Additionally

Type: sculpture
Genre: portraiture
Plot: Portrait bust

Information about author

Author: Tadeusz Baracz
Artist's lifetime: 1849–1905
Country: Austrian Empire, Austro-Hungarian Empire
Biography: Tadeusz Baracz (24 March 1849, Lviv – 12 March 1905, Lviv) was a Polish sculptor of Armenian origin, one of the most famous sculptors in Lviv in the second half of the 19th century. He was the son of Jakub Baracz, the owner of the Krakow Hotel, and Teresa of the Truchlinski family. He studied at a cadet school in the Austrian town of Hainburg as his father planned a career in the army for his son. He later graduated from a real school in Lviv. He began his artistic training in 1868–1869 at the Krakow School of Fine Arts under Wladyslaw Luszkiewicz and Henryk Kosowski. He studied at the Munich Academy of Arts in the studio of Max Windmann (1869–1871). He continued his training in Florence in the studio of Augusto Rivalto (1872–1875). At the beginning of 1876, he returned to Lviv. The sculptor's studio in the "Krakow" Hotel on Bernardynska Square (now Soborna Square) became a meeting place for photography enthusiasts. On 27 March 1891, a meeting of photography enthusiasts was held, which marked the beginning of the institutionalisation of their activities. Baracz's early works (until 1875) were in the late Romantic style, while his later works were realistic, neo-Renaissance and neo-Baroque. The artist's works show a synthesis of the traditions of the Munich and Viennese schools of sculpture, the latter having been integrated into Lviv thanks to a trip to Vienna in the second half of the 1870s and collaboration with the sculpture company of Julian Markowski, one of the brightest representatives of the Viennese school of sculpture. He began to exhibit his works in Lviv while studying at the Munich Academy of Art. He participated in the annual exhibitions of the Society of Fine Arts (Towarzystwo przyjaciół sztuk pięknych we Lwowie – TPSP) (1874–1904). In 1891, he was awarded a prize at the International Exhibition in Berlin for his work "The Head of an Old Man". In 1893, he exhibited his works in Chicago (USA). In January 1895, he joined the "Committee of Experts" of the TPSP with S. Batowski, S. Dembicki, T. Popiel and J. Styka. In 1897–1900, he participated in the sculptural decoration of the Great City Theatre in Lviv (now Solomiia Krushelnytska Lviv State Academic Theatre of Opera and Ballet), several Lviv buildings, created many monumental monuments, portraits and tombstones, mostly in the Lychakiv cemetery. He also tried his hand at animal painting: in 1929, he exhibited his "Dog's Head" at one of the Lviv exhibitions. Famous are the heraldic lions created by T. Baracz: at the entrance to the Town Hall and on the grave of Konstanty Ordon in the Lychakiv cemetery. The sculptor died in Lviv at the age of 56 after a long illness and was buried in the Lychakiv cemetery (Field 59). In 1905, a posthumous exhibition of Baracz's works was held, presenting 120 reliefs, sculptural groups, and busts. After Baracz's death, his brother Roman donated the sculptor's works to the City Gallery and Ossolineum Library. In 1940, during the nationalisation of private art collections, the Ossolinski collection was transferred to the Lviv Art Gallery (now Borys Voznytskyi Lviv National Art Gallery). The works by Tadeusz Baracz are kept in the National Museum in Krakow and the Tarnow Museum in Poland.

Object description

One of the most lyrical female portraits in Baracz's oeuvre is the bust of Natalia Andriollowa, born Tarnowska, a sculptor and artist, author of paintings, graphic, decorative and applied artworks, a student of W. Gerson in Warsaw, sculptors J. A. Injalbert, T. Noel and L. A. Roubaud. She was the wife of Michal Elwiro Andriolli (1836–1893), a representative of Romanticism, a graphic artist, and a famous illustrator of Polish and world literature. As in a number of other female portraits by T. Baracz from the 1890s, the means of artistic expression in this bust is a soft modelling of the face, expressed by graphic lines of the oval, hairstyle, eyebrows and eyelids. Thus, in the most plastically coherent frontal perspective, the model's dreamy, creative nature is reflected in her self-absorbed, thoughtful gaze, her shyness, the touching tenderness of her lips and her large, almond-shaped eyes. The decorative nature of the Lviv Secession is evident in the wavy strands of hair and the somewhat "salon-like" bouquet of flowers on the pedestal. At the same time, the profile and the three-quarter view reveal a plastic fragmentation that is absent in T. Baracz's later portraits from the early 1900s.

Inscriptions

Bottom of the plinth: "Natalja / Andriollowa / 1893".

Portrayed person