Stanczyk, 1862 by Jan Matejko
Canvas Print - 16968-MAJ
Location: National Museum, Warsaw, PolandOriginal Size: 88 x 120 cm
Giclée Canvas Print | $59.32 USD
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*Max printing size: 30.9 x 41.3 in
*Max framing size: Long side up to 28"
"Stanczyk" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Stanczyk" by Jan Matejko, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
The drama of this painting is revealed through its striking composition, which places the solitary jester in an anchor-like position. His bright red attire, emphasized by the darkened interior, creates an immediate focal point. From there, the eye is propelled into the adjoining hall, where opulent festivities continue unhindered. This conversational dance between foreground and background, between one man’s sorrow and an entire court’s oblivious revelry, sets the stage for the painting’s central tension. The disparity between the jester and the gathering underscores a wider narrative—one in which profound truths are left unnoticed by those in power.
Although the scene brims with historical references, it is the artist’s meticulous brushwork that lures the viewer in. The velvet-like finish of the tablecloth, the subtle folds in the jester’s uniform, and the barely perceptible glow on his face illustrate the painter’s devotion to detail. Rather than smoothing every transition, the artist allows the texture of each stroke to stand out, giving life to the furnishings, the drapery, and even the gentle swirl of light from the hall. This textural variety underscores the sense of unease and inescapable gravity that the jester, letter in hand, must wrestle with.
Equally important is the color palette. The jester’s red costume vibrates against the backdrop of muted browns, mossy greens, and shadowy corners, evoking tension akin to a taut string. Flickers of gold and amber emanating from the adjoining room hint at warmth and gaiety. The interplay of darkness around the solitary figure, combined with dappled highlights in the far room, heightens the contrast between private anguish and public festivity. It’s precisely this thoughtful arrangement of tones that conveys the emotional gulf lurking in the jester’s silence.
Finally, the historical underpinnings are no mere decoration: they speak directly to the painting’s quiet resonance. Created in 1862, this work addresses a Poland caught in political turmoil, with the jester representing a conscience that refuses to be drowned out by feasts and pageantry. The letter on the table alludes to national losses, while the open window shows the dark outline of a city left behind. In doing so, the painting offers a melancholy meditation on history’s burdens, hinting that those paying attention—sometimes the jesters—are acutely aware of looming disaster when others remain oblivious.