Stanislaw Wyspianski

Wyspiański, Stanisław


Born Jan. 15,1869, in Krakow; died there Nov. 28, 1907. Polish writer, artist, and man of the theater.

Wyspiański was born into a sculptor’s family. He studied at the Krakow School of Fine Arts (1884-95, with interruptions) under Jan Matejko and at the Colarossi Academy in Paris (1891-94). Wyspiański was one of the founders (1897) and a prominent member of the Krakow artists’ association Art. In his art Wyspiański strove to embody the national principle within the framework of the art nouveau style. In his sketches for stained-glass windows, designed for the Franciscan Church and the Wawel Cathedral in Krakow (1896-1906), Wyspiariski used fluid, vibrant contour lines and patches of pure color as a means of expression. As a partici-pant in the publication of the journal Zycie (Life), Wyspiariski created a new type of book design, achieving a decorative unity between the printed text and the gently rhythmic, stylized floral ornamentation. Wyspiański’s pastel portraits and landscapes are characterized by a generalized, expressive manner of drawing, a refined poetic quality, and spirituality. Wyspiański also worked in the field of decorative art, for example, his design for the interior of the Medical Society Building in Kraków (c. 1905) and his sketches for furniture, fabrics, arid metallic articles.

Wyspiański’s plays and rhapsodies are devoted to Poland’s remote past, for example, The Legend (1897), Boleslaw Smiaty (1900), and Kazimierz the Great (1900). His historical dramas raise the problems of Polish romanticism and the national liberation movement, for example, Warszawianka (1898), The Legion (1900), and November Night (1904). The plays based on subjects drawn from ancient Greek myths deal with contemporary events in the spirit of ancient tragedy, for example, Meleager (1898), Curse (1899), and The Return of Odysseus (1907). The summit of Wyspiański’s creative work is his metaphorical drama-pamphlet and drama-tale The Wedding (1901). Here, as in his other contemporary political dramas, Liberation (1903) and Acropolis (1904), he poses the problem of the paths to be taken in the national liberation struggle and depicts the decay of Polish bourgeois society. Characteristic of Wyspiański’s art are a combination of a realistic view of the world with symbolism, a monumental and synthetic quality, and the simultaneous use of verbal, musical, and plastic means. These features also appeared in his work as a director.


Dzieta zebrane, vols. 1-15. Krakow, 1958-68.
Poezje. Warsaw, 1957.
In Russian translation:
Dramy. [With an introduction by B. Rostotskii.] Moscow, 1963.


S. Vyspianskii i khudozhniki ego vremeni: Katalog vystavki. Moscow, 1958.
Vitt, V. “Stanislav Vyspianskii.” In Istoriia pol’skoi literatury, vol. 2. Moscow, 1969.
Skierkowska, E. Plastyka St. Wyspiańskiego. Wroclaw-Kraków, 1958.
Łempicka, A. “Stanislaw Wyspiański.” In Obraz literatury polskiej XIX i XX wieku, series 5: Literatura okresu Młodej Polski, vol. 2. Warsaw, 1967. (Contains a bibliography.)
Stanistaw Wyspiański [2nd ed.] Warsaw, 1967.
Stokowa, M. Stanisfaw Wyspiański: Monografia bibliograficzna [vols. 1-3]. Kraków [1967-68].


References in periodicals archive ?
They also address the relationship between Kantor and Stanislaw Wyspianski, Jacek Malczewski, and Bruno Schulz; the role of after-images in his art; parallels to the work of Beuys; heritage and identity in his work; and comparisons to Jerzy Grotowski, Joseph Chaikin, Jerzy Grzegorzewski, Christoph Schlingensief, and others.
One of its members was Stanislaw Wyspianski, a painter who also became a playwright.
Faustus, or the manifestation of Auschwitz's ovens (located only 60 miles away from Opole) in Stanislaw Wyspianski's poetic nationalist text Akropolis.
Professor McQuillen's analysis of Stanislaw Wyspianski's monumental play offers a nontraditional interpretation; mutatis mutandis, it plays the same role regarding that play that the hero of Gombrowicz's Ferdydurke played with regard to Polish Romanticism.
Wajda's work can be divided between films that deal with history and politics--some adopted from Polish literary classics like The Wedding (playwright, Stanislaw Wyspianski) and The Landscape After A Battle (novelist, Tadeusz Borowski)--and those that are more existential and psychological like Everything for Sale and Innocent Sorcerers.
Twenty years on, with Poland a buoyant new member of the EU, they are ripe for rediscovery--not least the outstanding figure to emerge from their midst, Stanislaw Wyspianski (1869-1907).
Young Poland's leading figure, Stanislaw Wyspianski (1869-1907), artist, designer, poet and dramatist, was another Krakovian with a passionate love of his city.
Even if you are not staying at the Pollera it is worth visiting to see the beautiful art deco stained glass windows on the staircase by Polish artist Stanislaw Wyspianski.
Tampoco es carente de importancia el papel que, desde hace casi cinco decadas, he procurado desempenar dentro del cine polaco, al transportar sucesivamente a la pantalla grande algunas de las obras clasicas de nuestra literatura, como Cenizas, de Stefan Zeromski; La boda, de Stanislaw Wyspianski; Caso Danton, de Przybyszewska, o Don Tadeusz, de Adam Mickiewicz.
Franciscan Church: Even if churches aren't your thing, pop in to see the striking art-nouveau stained-glass window designed by Stanislaw Wyspianski. A museum dedicated to the artist is at ul Kanoncicza 9.
Examples of such adaptation in twentieth-century literature include the work of poet and playwright Stanislaw Wyspianski (1969-1907), and numerous literary works produced during the Second World War.
In 1969 the Laboratory Theater made a successful American debut in New York City with Akropolis, based on a 1904 play by Stanislaw Wyspianski.