Portrait of Ferdynand Galle

In the artistic output of Józef Simmler, the composition Śmierć Barbary Radziwiłłówny [Death of Barbara Radziwiłłówna] from 1860 enjoyed the most outstanding recognition. It is also one of the most essential works in the history of Polish art. However, paintings devoted to ancient history constitute a less significant quantity and artistic quality of the painter's legacy. It is dominated by portraits in which Simmler's talent and painting craftsmanship become evident. The representations, whose task was to preserve the image of the portrayed person for posterity, have a long tradition dating back to antiquity.

However, the individual Portret Ferdynanda Galle [Portrait of Ferdinand Galle] created in 1850 belongs to group images. Together with the likeness of his wife, Karolina Galle, they form a portrait of a married couple. They are representative but not devoid of a certain intimacy. The man, dressed according to the time's fashion in an exquisite black suit, is portrayed against a dark-grey, empty wall. The artist focussed on the figure sitting in the armchair, frozen in a relaxed yet dignified pose. The figure exudes calm and solemnity. The light coming from the front brings out the hands and head from the dark space. A careful study breathes life into the face, giving the gaze a gentle expression. Simmler programmatically avoided violent movements, gestures and mental tension in his compositions. Apart from the name, little is known about the model. Based on the image, it can be assumed that he belonged to the Evangelical bourgeoisie settled in Warsaw or the wealthy bourgeoisie with German roots. The painter himself also came from these circles. Using the academic style of Carolsfeld and Delaroche, with time he became a portraitist of this milieu, an exponent of its features and ambitions. These elite circles valued art imbued with the dignity of tradition, based on perfect technique and solidity of execution. Financially independent, Simmler, whose family made a fortune out of furniture production, did not have to bow to fashion. He painted according to accepted academic rules, focussing on perfecting his craft. The portrait of Gallego shows that in his works he strove for ideal composition, harmonious arrangements and accurate drawing. He was fond of the meticulous reproduction of the texture of materials. An excellent example of that is the impressive Portret Marii Włodkowskiej [Portrait of Maria Włodkowska].

Bożena Kasperowicz