Portrait of Karolina Galle

The painting legacy of Józef Simmler is dominated by portraits, which are characterised by high craftsmanship. The first portraits of his family and friends were made in the 1840s, immediately after the painter's return to Poland after foreign studies in Dresden, Munich and Paris. In the 1850s, in the circles of the Warsaw bourgeoisie and wealthy bourgeoisie, Simmler already enjoyed great recognition as a portraitist. He represented the type of art he valued, imbued with the dignity of tradition based on perfect technique and solidity of execution. Simmler came from a wealthy family, so he did not succumb to pressure and new trends. He painted according to the accepted academic rules, focusing on perfecting his technique. In his works, he strove for ideal composition, harmonious arrangements and accurate drawing. He was fond of a faithful representation of models, meticulous reconstruction of objects and tangible texture of materials. The features mentioned above can be found in Portret Karoliny Galle [Portrait of Karolina Galle] from 1850, which, together with a separate image of her husband Ferdinand, creates a portrait of a married couple. The representation is representative but at the same time imbued with a certain degree of intimacy. Seated comfortably in a red armchair, the dignified woman in an elegant black dress with costly accessories in the form of elaborate lace, flowers and elegant jewellery, attracts attention against the background of a grey, empty wall. The figure exudes calmness and proud solemnity. Gentle light coming from the front brings out from the twilight a shapely head and a hand placed on the backrest of an armchair. The woman's face radiates with life mainly because of her penetrating black eyes. It is the only element of a certain agitation in the painting, as Simmler programmatically avoided sudden movements, gestures and mental tension in his compositions. The portrait of Karolina Galle comes from a relatively early period when the artist paid attention mostly to depicting the psychological state of his models. In later works, it loses its sharpness, subdued by the impressive space of the decadent interiors in which the portrayed people posed. The most striking example of this change is Portret Marii Włodkowskiej [Portrait of Maria Włodkowska] from 1865.

Simmler also made a significant contribution to the development of history painting in the country, but he was overshadowed by Matejko’s achievements.

Bożena Kasperowicz