Luís de Camões

 Celebrating 500 Years of Luís de Camões: The Legacy of Portugal's Literary Giant

 ©Andrzej Philips

This year marks the 500th anniversary of the birth of Luís de Camões, one of Portugal's greatest literary figures. Known for his epic poem *Os Lusíadas*, Camões' work has left an indelible mark on Portuguese literature and culture. His life and writings continue to be celebrated for their profound influence and artistic brilliance.

The Portuguese Post commemorates the 500th anniversary of Camões' birth with stamps (€0.65 and €1.30) and a block (€3.50) issued on July 10, 2024.

The €0.65 stamp presents a portrait of the poet (the so-called "Retrato a vermelha"), and the €1.30 stamp shows an extract from *Os Lusíadas* – Canto 1, verse 2. The souvenir sheet presents an extract from *Os Lusíadas* – Canto 1, verse 1, and a painting by Alfredo Roque Gameiro, "A partida do Vasco da Gama a Índia em 1497" ["Vasco da Gama's departure to India in 1497"].

The First Day Cover presents the caravel of Fernão Cabral.

 

 

Canto (book) 1, verse 2 (the stamps for €1,30)

 

Portuguese:

E também as memórias gloriosas

Daqueles Reis, que foram dilatando

A Fé, o Império, e as terras viciosas

De África e de Ásia andaram devastando;

E aqueles, que por obras valerosas

Se vão da lei da morte libertando;

Cantando espalharei por toda parte,

Se a tanto me ajudar o engenho e arte.

English:

And also the glorious memories

Of those kings who expanded

The Faith, the Empire, and the vicious lands

Of Africa and Asia they devastated;

And those who by valiant deeds

Are escaping the law of death;

Singing, I will spread everywhere,

If my talent and skill help me to do so.

 

Canto 1, verse 1 (the souvenir sheet)

Portuguese:

As armas e os barões assinalados

Que da ocidental praia Lusitana

Por mares nunca de antes navegados

Passaram ainda além da Taprobana[1],

Em perigos e guerras esforçados

Mais do que prometia a força humana,

E entre gente remota edificaram

Novo Reino, que tanto sublimaram;

 

English:

The arms and the famed heroes

Who from the western shore of Lusitania

By seas never before sailed

Went beyond Taprobana[2],

In dangers and wars strived

More than human strength promised,

And among remote peoples built

A new kingdom, which they so exalted;

 

The Life of Luís de Camões

 

Luís de Camões was born in 1524, though the exact date and location of his birth remain subjects of speculation. He lived during a time of great exploration and change, with the Portuguese Empire reaching its zenith. Camões' life was as adventurous and tumultuous as the times he lived in. He traveled extensively, including time spent in India, China, and Mozambique, experiences that deeply influenced his writing.

 

Despite his contributions to literature, Camões faced numerous hardships, including imprisonment and financial difficulties. His personal struggles and adventurous spirit are reflected in his works, making his poetry rich with emotion and experience.

 

Os Lusíadas: A National Epic

 

"Os Lusíadas", published in 1572, is Camões' magnum opus and a cornerstone of Portuguese literature. The epic poem celebrates the voyages of Portuguese explorers, particularly Vasco da Gama, and the discovery of the sea route to India. Through this work, Camões not only glorified Portugal's maritime achievements but also explored themes of heroism, patriotism, and human endeavor.

 

The poem is a blend of classical and Renaissance influences, showcasing Camões' mastery of language and poetic form. Its enduring popularity is a testament to its literary excellence and its significance in Portuguese culture.

 

Camões' Literary Legacy

 

Beyond "Os Lusíadas", Camões wrote numerous lyrical poems, including sonnets, elegies, and eclogues. His lyrical poetry is characterized by its emotional depth, exploring themes of love, loss, and longing. Camões' ability to convey complex emotions with clarity and beauty has earned him a place among the great poets of the Renaissance.

 

His works have been translated into numerous languages, allowing his influence to extend far beyond Portugal. Camões is often compared to other literary giants such as Dante, Shakespeare, and Cervantes, highlighting his global significance.

 

Celebrating Camões Today

 

The 500th anniversary of Camões' birth is being celebrated with various events and initiatives aimed at honoring his legacy. Literary festivals, academic conferences, and public readings of his works are taking place in Portugal and around the world. These celebrations are not only a tribute to Camões' contributions to literature but also an opportunity to explore the ongoing relevance of his themes and ideas.

 

The Portuguese government and cultural institutions are also promoting educational programs to introduce Camões' works to new generations. By doing so, they ensure that his legacy continues to inspire and influence future writers and readers.

 

Luís de Camões remains a towering figure in the world of literature, his works capturing the spirit of his time while continuing to resonate with readers today. As we celebrate the 500th anniversary of his birth, we are reminded of the enduring power of his poetry and the lasting impact of his artistic vision. Through his epic tales of adventure and his poignant lyrical verses, Camões invites us to explore the depths of the human experience and the heights of creative expression.

 

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[1] In "Os Lusíadas", "Taprobana" refers to the island of Sri Lanka, known in ancient and classical literature as Taprobana or Taprobane. This name was used by Greek and Roman geographers to describe the island, and it appears in various classical texts. Luís de Camões includes this reference to emphasize the vast and uncharted territories explored by the Portuguese during their voyages of discovery.

[2] See the end note above

Otto Engelhardt - Kyffhäuser

 Auf dem Treck[1]  of Otto Engelhardt-Kyffhäuser

© Andrzej Philips

 

In the “Remembrance of the resettlement of the Galician Germans 1939/40”  Erich Müller writes “Heim ins Reich” - “Home to the Reich” was the slogan at the time, which for the people of Galicia Palatinate meant the end of their 160-year history in the East. At that time they followed this call almost completely, but did not know that the majority of them had been chosen to push the Poles out of the occupied western Polish areas[2]. Short time Afterwards, many of their men paid for Hitler's campaigns with their lives. When the war led to Germany's defeat, they found themselves as refugees or expelled people in the Germany that had once called them home to the Reich.

Further Erich Müller writes that the German Post in the Generalgouvernement issued on October 26, 1940 a series of stamps depicting the resettlement to mark the first anniversary of the Generalgouvernement.

The article contains pictures of three stamps from the General Government with resettlement motifs presenting three resettler heads - those of a girl, a farmer's wife, and  a farmer, which are supplemented by symbols. The drawing representing Marie Eppler was  used as a stamp template. Mrs. Marie Eppler’s (married Kraus) photo in the age of 75 is presented in  the Erich Müller’s article.

 

The stamp with Maria Eppler presents also a plowing farmer who is predicted to have a sunny future under the swastika. The fate of the resettlers ended in catastrophe instead. The symbol of the third stamp with the farmer's head, which is also shown in color on the cover, shows a sleigh belonging to the Haulanders, who were also resettled. The picture is reminiscent to the wagons of the Galician German farmers who had resettled in the winter[3]. 

 

The stamps with farmer were also issued in four different colours and face value  with the inscription “Winterhilfswerk” (Winter Welfare).

 

The stamps were based on drawings of Otto Engelhardt-Kyffhäuser.

Otto Engelhardt- Kyffhäuser (born on  5th January 1884 in Artern; died on 7th June 1965 in Göttingen) was a German painter and art teacher.

Engelhardt, who came from the Prussian province of Saxony (he received the nickname because of his birthplace near Kyffhäuser[4]), trained at the art academies in Kassel from 1901-07, including Berlin and Weimar, where he was a member of the Weimar etching association. In 1914 his works were exhibited at the Kunstverein Darmstadt. During the First World War he was a senior field hunter in the 4th reserve hunter battalion and a war painter in the fighting troops. From 1919 to 1939 he worked in Görlitz, became a teacher of art education at the Luisenschule there (today the Joliot-Curie-Gymnasium) and appeared in public with numerous pen drawings, etchings and paintings. In 1928, several murals he designed were ceremoniously unveiled in the auditorium of the Görlitz Luisenschule. In 1930 he was a co-founder of the Rotary Club of Görlitz. He joined the NSDAP and SS, came to terms with contemporary propaganda needs, drew numerous war pictures and portrayed several National Socialist greats.

In January 1940, Engelhardt-Kyffhäuser accompanied a trek of ethnic Germans at Himmler's request. These were resettled in the Warthegau from Galicia and Volhynia, which were part of Soviet-annexed eastern Poland. In order to create space for settlement here, 120,000 Poles had previously been deported. Engelhardt-Kyffhäuser documented the trip with numerous sketches and drawings, which were exhibited in Berlin on March 30, 1940 and published as a book in the same year. Engelhardt-Kyffhäuser published "The Book of the Great Trek" (Vom Grossem Treck) together with Alfred Karasek, the area representative in the resettlement staff, and Heinrich Kurtz from the Krakow Office of the Governor General; SS Obergruppenführer Werner Lorenz contributed a foreword. The images served as a template for the Nazi propaganda film “Homecoming” by Gustav Ucicky, the creation of which he also documented. The film in turn inspired him to create pictures.

His drawing were also used for the propaganda cards “Vom Grossem Treck” (Ther great treck). All these drawings are valuable sources for the genealogy of Galician Germen because they contain also the description of the drawn persons, including their personal date like place and birth date.

Farmer Anton Steckbauer

The card describing Farmer Anton Steckbauer

 

For example, the card presenting Anton Steckbauer contains his exact birthdate 6th May, 1896, and place – Ludwikówka, what corresponds with data in OFB (Ortsfamilienbuch/Family Book[5]):

STECKBAUER (= Stekbauer), Anton, born on 6.5.1866 in Ludwikówka[6] {Myslivka} (Dolina)/Gal. [UA], House Nr. 21., son of Anton Steckbauer and FICHTEL (∞ Schaller, Steckbauer), Katharina born 1837 in Tarnów/Gal.

 

Otto Engelhardt-Kyffhäuser successfully took part in several exhibitions in Germany with his works, e.g.:

·         at the Great German Art Exhibition of 1940 in the House of German Art in Munich,

·         Exhibition “Repatriation of Germans from Galicia” from February 2nd to 12th, 1940 in the Krakow Art Hall (it was the first exhibition by a German artist in occupied Poland and the first exhibition about the resettlement campaign).

·         A separate exhibition of his pictures was opened under the title The Great Trek 1940 in the Ständehaus Görlitz.

·         The exhibition With Man and Horse and Carriage... followed in 1941 in the Luisenschule in Görlitz.

·         1941 exhibition Flanders and the Netherlands: People and Landscape, Saarbrücken, organized by the VDA Gauverband Westmark and the Saar-Palatinate Association for Arts and Crafts.

·         At the exhibition German Artists and the SS in 1944 he showed the picture “Before the Departure” in Breslau and the pictures “Trek Rolls Over the Bridge at Przemysl” and “A Tank Hunter of the SS Pol. Div.” in Salzburg.

 

Works by Engelhardt-Kyffhäuser can be seen today in museums in Görlitz and Bautzen. There is a mural by him in the Artern town hall. Engelhardt-Kyffhäuser was married to Dorothea (née Weise)[7].

Soon after the last war, Engelhardt was the first German painter to be invited to Paris to organize an Engelhardt-Kyffhäuser exhibition. What he showed became a sensation for all art connoisseurs in France. It was a new process in painting, the monotype, as he called it. They outdid each other in Paris in enthusiastic appreciations. For example, the "Pariser Currier" headlined his essay: "With melting oil paint" and wrote: "After long attempts, he finally found a way that opened up completely new possibilities of artistic expression for him. Above all, he was helped by a binder he discovered, which gives the colours the greatest elasticity and suppleness. The work, applied to a light-coloured metal plate, is heated to such an extent that the colours begin to melt and often converge like enamel. The scraped out highlights and contours, however, even if they are wafer-thin, do not merge, but remain razor-sharp and correct. Extraordinarily powerful effects are achieved that cannot be achieved by any other technique."

"La Revue moderne des arts et de la vie", however, calls Engelhardt "a real artist who is focused on greatness". He is "swept away by his inspiration" and he is not afraid to "tackle even the most sublime subjects". And further: "It would be wrong to classify Otto Engelhardt-Kyffhäuser in any school. His powerful personality is self-sufficient." This is followed by a detailed appraisal of the individual "masterpieces" exhibited in this prestigious journal and the conclusion: "It is not possible to give in a few dry sentences even a reasonably clear idea of such an abundance of inspiration and imagination as these works reveal. How far we are from the trimmed art of so many artists of our time, who are content with the limited horizon of a café or a dance hall! Therefore, one must take one's hat off to the work of Otto Engelhardt-Kyffhäuser without hesitation."

While the Parisian press spoke of "the most sublime themes", such were also shown in particular in the exhibitions that Engelhardt presented on the basis of his repeated travels to and through Egypt. In 1960, as part of the new cultural agreement between the Federal Republic of Germany and the United Arab Republic, he was invited to show his large monotype exhibition with Egyptian and some German motifs in February at the Kunsthalle Alexandriens. It was opened in Cairo by the Egyptian Minister of Culture and the German Ambassador. The Minister of Culture acquired for the new modern museum in. Cairo also has the image of the Erfurt Cathedral and the Severi Church.

While the "most sublime subjects" in Egypt included many of the country's sanctuaries and buildings, which are several thousand years old, Engelhardt-Kyffhäuser was invited to Rome to paint the sites of Christian culture. Although a Protestant, he won friends through his art in the "Institutum Germanicuni". From this place he was given a special place in St. Peter's Basilica, from which he could capture the Pope in various positions in the middle of the service. All of his Roman paintings are also of radiant colour and do not fail to have an effect on people of other faiths.

Through such achievements and successes, Otto Engelhardt-Kyffhäuser became one of Germany's best-known painters[8].

 

---

[1] On the treck (German).

[2] Erinnerung an die Umsiedlung der Galiziendeutschen 1939/40 (Remembrance of the resettlement the Galician Germans 1939/40),  Erich Müller, Zeitweiser 2009 der Galiziendeutschen, p. 24

[3] Erich Müller, Zeitweiser 2009 der Galiziendeutschen, ibidem p. 26

 

[4] The Kyffhäuser sometimes also referred to as Kyffhäusergebirge) is a hill range in Central Germany, shared by Thuringia and Saxony-Anhalt, southeast of the Harz mountains. It reaches its highest point at the Kulpenberg with an elevation of 473.4 m (1,553 ft). The range is the site of medieval Kyffhausen Castle (Reichsburg Kyffhausen) and the 19th century Kyffhäuser Monument; it has significance in German traditional mythology as the legendary resting place of Emperor Frederick Barbarossa.

[5] Ortsfamilienbuch/Family Book, Manfred Daum, available by GGD

[6] The place was founded around 1820. The settlers came from Bohemia and were Roman Catholics. The new independent municipality of Ludwikówka also included the smaller settlements of Josephstal (founded in 1832) and Leopoldsdorf (founded in 1870). In 1900 the municipality of Ludwikówka had 62 houses with 445 inhabitants, of which 391 were German-speaking. In 1946 the name was changed to Myslivka. The place became part of the Kalush district in Ukraine.

[7] Otto Engelhardt-Kyffhäuser (de-academic.com)

[8] Heinz Sting Kunstmaler Otto Engelhardt-Kyffhäuser – NordhausenWiki (nordhausen-wiki.de)

Henryk Rauchinger: An Austro-Polish Portraitist

 Is it worth collecting poster stamps?

© Andrzej Philips

 What are poster stamps?

      Poster stamps, also known as Cinderella stamps, hold a unique place in the world of philately. Unlike traditional postage stamps issued by postal authorities for the purpose of mailing, poster stamps are primarily designed for advertising, promotion, or commemoration. They often feature colorful designs, artistic illustrations, and thematic imagery, making them attractive to collectors.

The term "poster stamp" originated because these stamps often resembled miniature posters in their design and aesthetics. Many poster stamps were either “poster-like” in appearance or exact miniature replicas of larger street posters. Their colorful and detailed artwork was especially eye-catching during the early 1900s, a time when color printing was still relatively expensive and not commonly used. This vivid, poster-like quality made these stamps stand out and quickly catch the public’s attention.

The decision to collect poster stamps ultimately depends on individual preferences and interests. Here are some factors to consider when determining if it's worth collecting them:

1. Historical Significance: Poster stamps offer insights into various aspects of history, including advertising trends, cultural movements, and significant events. They can serve as valuable artifacts, providing a glimpse into the past and shedding light on social, political, and economic contexts.

2. Artistic Value: Many poster stamps showcase intricate artwork, innovative designs, and creative concepts. For art enthusiasts, collecting poster stamps can be a rewarding pursuit, offering exposure to a diverse range of artistic styles and techniques.

3. Thematic Diversity: Poster stamps cover a wide range of themes, including sports, entertainment, transportation, politics, and more. Collectors have the flexibility to focus on specific themes that align with their interests, allowing for a personalized and diverse collection.

4. Accessibility: Unlike traditional postage stamps, which may have limited availability or require significant financial investment, poster stamps are often more accessible and affordable. They can be found through various channels, including online marketplaces, stamp shows, and specialty shops.

5. Community Engagement: Collecting poster stamps can be a social and community-oriented activity. Enthusiasts have the opportunity to connect with fellow collectors, attend stamp exhibitions, participate in trading events, and engage in discussions about their shared interests.

6. Educational Value: Poster stamps offer educational opportunities for both collectors and enthusiasts. Researching the history, context, and significance of poster stamps can enhance one's knowledge and appreciation of art, culture, and society.

Ultimately, the decision to collect poster stamps should be driven by personal enjoyment, curiosity, and passion. Whether you're drawn to their historical significance, artistic appeal, thematic diversity, or community engagement, collecting poster stamps can be a rewarding hobby that offers both enjoyment and enrichment.

Poster stamps are a unique category of philatelic items resembling regular postage stamps but not used for postal services. They encompass a broad range of subtypes, including revenue stamps printed by national governments for tax payments, local stamps used for regional deliveries, and most notably, privately printed stamps for advertising or propaganda purposes. These privately produced stamps are the primary focus for collectors and are known as poster stamps in the United States. They are distinguished by their striking graphic designs, larger sizes, vivid colors, and bold, eye-catching aesthetics, often mimicking the appearance of full-sized posters.

The term poster stamp refers to a type of cinderella stamp that resembles a miniature poster. They are typically used for advertising, propaganda, or commemorative purposes and are not valid for postage. Below are translations of poster stamp in several languages:

The poster stamps in other langauges: German: Werbemarke, Vignette publicitaire or timbre affiche, Italian: Francobollo pubblicitario, Spanish: Sello de publicidad or sello póster, Znaczek reklamowy, Dutch: Reclamezegel, Portuguese: Selo de publicidade, Russian: Рекламная марка (Reklamnaya marka)

Poster stamps are a fascinating aspect of philately and graphic design history, reflecting the cultural and commercial trends of their times. They were particularly popular in the late 19th and early 20th centuries, especially in Europe and North America. Collectors value them for their artistic designs and historical significance.

 

Wawel Gedenket der Flüchtlinge

 

   

        Advertising stamps caught my interest when I came across the following stamp. It depicts Wawel - write something about Wawel.  Wawel is a historic architectural complex in Krakow, Poland, renowned for its Royal Castle and Cathedral. It served as the residence of Polish kings for centuries and is celebrated for its blend of architectural styles, including Romanesque, Gothic, Renaissance, and Baroque. Wawel's rich history and cultural significance make it a cherished symbol of Poland's heritage.

The stamp bears the signature of H. Rauchinger in the bottom right corner. It was designed by Heinrich Rauchinger between 1915 and 1918. The inscription Gedenket der Flüchtlinge means Remember the Refugees).

This poster stamp is a small yet poignant artifact reflecting the historical context of its time. Designed by Heinrich Rauchinger during World War I, it was created to draw attention to the plight of refugees. The inclusion of the Wawel Castle, a symbol of Polish heritage and resilience, underscores the national and cultural significance behind the call to remember those displaced by the war.

The stamp's design incorporates elements of Autotype printing, which allows for detailed and nuanced imagery, suitable for capturing the solemn and evocative message intended by Rauchinger. As a work of art, it highlights Rauchinger's skill in combining visual elements with a powerful social message.

The signature of H. Rauchinger and the specific mention of Wawel tie the object directly to Polish history and culture, making it a valuable piece for collectors and historians alike. It reflects the broader efforts during the early 20th century to use art and print media as tools for social awareness and humanitarian appeals.

Heinrich Rauchinger's poster stamp Gedenket der Flüchtlinge serves as a historical document and an artistic expression, reminding us of the humanitarian crises of the past and the role of art in addressing social issues. Its preservation in a collection highlights its enduring significance and the importance of remembering the past through such artifacts.

 

Henryk Rauchinger: An Austro-Polish Portraitist

 

Henryk Rauchinger, born on January 1, 1858, in Krakow, embarked on a remarkable artistic journey that spanned the vibrant cultural landscapes of Krakow, Vienna, and beyond. A painter of Polish descent, Rauchinger's passion for art led him to study at the Krakow School of Fine Arts under the esteemed Jan Matejko. Continuing his artistic education, he honed his skills at the Academy of Fine Arts in Vienna, where he studied under August Eisenmenger and Christian Griepenkerl.

Rauchinger's talent as a portraitist flourished, earning him recognition within artistic circles. He showcased his works at exhibitions in Vienna and Krakow, including presentations at the Society of Friends of Fine Arts in Krakow from 1883 to 1899. Notably, in 1894, he participated in an exhibition of Polish art in Lviv (Lwów), where he presented a portrait of Zenon Przesmycki, a Polish poet known by the pseudonym Miriam.

 

Portrait of Karolina Zakrzeńska née Święcicka [wikimedia]

Throughout his career, Rauchinger received numerous accolades for his artistry. His portraits, characterized by meticulous attention to detail and a profound sense of emotion, earned him widespread acclaim. Among his notable achievements were portraits of prominent figures such as Stefan Zweig and Bertha von Suttner, reflecting his ability to capture the essence of his subjects on canvas.

Henryk Rauchinger - In hard labor (exile to Siberia) 1886 [National Museum in Krakow]

Despite his artistic success, Rauchinger's life took a tragic turn with the onset of Nazi persecution. In 1942, at the age of 84, he was arrested and deported to the Theresienstadt concentration camp, where he ultimately perished. His final days remain shrouded in uncertainty, with his fate officially recognized by court order in 1948.

Rauchinger's legacy endures through his art, serving as a poignant reminder of the resilience of the human spirit in the face of adversity. In 2018, his name was commemorated in an exhibition at the Volkskundemuseum Wien, honoring his contributions to art and bearing witness to the enduring power of creativity in the face of tyranny.

Henryk Rauchinger's journey embodies the transformative power of art, transcending borders and generations to leave an indelible mark on the annals of history. Through his portraits, he immortalized the souls of his subjects, ensuring that their stories endure as a testament to the enduring power of the human spirit.

Henryk Rauchinger was a notable Polish artist known for his contributions to the journal Life (Życie), which played a significant role in the Polish modernist movement. Rauchinger created the first title vignette for the inaugural issue of Life in 1897, which set a visual tone for the publication. His work, alongside other prominent Polish artists, contributed to the visual and thematic identity of the journal.

Rauchinger's artistic involvement in Life was part of a broader effort to establish a Polish voice within the modernist discourse. The journal's illustrative content, including Rauchinger's vignettes, often featured Symbolist and Art Nouveau influences, reflecting the international trends in art while embedding a distinct Polish perspective.

Throughout its publication, Life showcased a variety of artistic styles and themes, including idealized femininity, nostalgic landscapes, and allegorical motifs. Rauchinger and his contemporaries, such as Stanisław Wyspiański and Teodor Axentowicz, contributed to this rich visual program, which helped to legitimize and promote modernist ideas within Poland.

In summary, Henryk Rauchinger played a pivotal role in the early visual direction of Life, helping to shape the journal's aesthetic and thematic approach, which was crucial in integrating Polish contributions into the broader narrative of modernism. Following the trail of this poster stamp, I began to search for information about Henryk Rauchinger. In the National Museum in Krakow, there is a postcard with a portrait of Henryk Rauchinger. On the back, there is a note that reads, 'To beloved Dr. Jasienski and esteemed Mrs. Janina in memory of Henryk Rauchinger.

 

A new question arises: Who is Dr. Jasieński?

 

Feliks Jasieński: A Patron of Art and Collector Extraordinaire

 

Feliks Jasieński, bearing the coat of arms of Dołęga, was born on July 8, 1861, in Grzegorzewice, Poland, into the esteemed Jasieński family. His life's journey intertwined with the rich tapestry of Polish history, marked by his significant contributions to the world of art as a critic and collector.

Wojciech Weiss, Portrait of Feliks Jasieński, 1903, National Museum in Krakow

 Descended from the illustrious Jasieński family, renowned participants of the Four-Year Sejm and one of the most affluent and influential landed gentry families in the Sandomierz region during the 19th century, Feliks's upbringing was privileged yet tumultuous. His educational path was unconventional, marked by challenges and interruptions. Despite repeating the fourth grade, he completed his schooling without sitting for final exams.

Feliks's insatiable thirst for knowledge led him to pursue higher education in Dorpat (now Tartu, Estonia). However, his studies were cut short due to eye illness. Undeterred, he embarked on extensive travels across Europe, Egypt, and Asia Minor, immersing himself in diverse cultures and artistic influences. Residing at various times in Warsaw, Krakow, and Lviv, he became an integral part of Krakow's artistic milieu, engaging with the city's bohemian circles and participating in the famed Zielony Balonik (Green Balloon) evenings.

An accomplished writer, Feliks Jasieński contributed articles and essays to prominent publications such as Chimera, and Lamus, where he served as literary director. In 1901, he published a collection of essays titled Manggha. Promenades à travers les mondes, l'art et les idées, showcasing his erudition and broad cultural interests. Collaborating with Adam Cybulski-Łada, he co-authored the 1904 album “Sztuka Polska. Malarstwo” (Polish Art. Painting), further cementing his reputation as a discerning critic and promoter of Polish art.

Feliks Jasieński's pseudonym, Manggha, derived from a collection of woodcuts by the Japanese artist Katsushika Hokusai, reflected his fascination with Japanese art. His extensive travels enabled him to amass a diverse collection of European and Japanese artworks, textiles, and antiquities. Settling in Krakow in 1901, he emerged as a patron of the arts, nurturing the talents of young artists and championing the modernist movement.

His eclectic collection, which included over 15,000 exhibits, was bequeathed to the city of Krakow in 1920, with the condition that it would form an integral part of the National Museum in Krakow and be accessible to the public. As the lifetime director of the donated collection, he continually enriched its holdings, ensuring its significance for future generations.

Feliks Jasieński's legacy endures through the Manggha Centre of Japanese Art and Technology in Krakow, established with funds from Andrzej Wajda's Kyoto Prize in 1987. Named in his honor, the center preserves and showcases his remarkable collection, serving as a testament to his enduring passion for art and cultural exchange.

Though Feliks Jasieński passed away on April 6, 1929, his contributions to the world of art continue to inspire and enrich the cultural landscape of Poland and beyond. As his collection continues to captivate audiences at the Manggha Centre, his vision of art as a bridge between nations lives on, transcending boundaries and fostering understanding in an ever-changing world.

 

Janina Jasieńska: A Partner in Passion for Art

 

Beside Feliks Jasieński stood Janina Jasieńska, nee Biegel, a woman of grace and refinement whose presence illuminated the vibrant circles of Krakow's artistic milieu. Born in 1870, Janina shared Feliks' passion for culture and creativity, enriching their shared journey with her intellect and elegance.

 

Married to Feliks Jasieński in 1887, Janina played an integral role in her husband's life, providing unwavering support for his endeavors as a critic and collector. Together, they fostered an environment of artistic exploration and appreciation, hosting gatherings that brought together luminaries of the Polish cultural scene.

 

Janina's influence extended beyond the confines of their home, as she actively participated in cultural events and initiatives alongside Feliks. Her keen intellect and refined taste complemented Feliks' bold vision, contributing to the couple's enduring legacy as patrons of the arts.

 

Though her life remains somewhat veiled in the shadows of history, Janina's presence undoubtedly enriched Feliks' journey, serving as a steadfast companion in his pursuit of artistic excellence. In commemorating Henryk Jasieński's legacy, let us also honor Janina's contributions as a partner in passion for art, whose grace and elegance left an indelible mark on the cultural landscape of Krakow and beyond.

 

Teresa Jasieńska and Henryk Jasieński: the Guardians of Cultural Heritage

 

After the death of Janina, Feliks Jasieński married Teresa Jasieńska, nee Łabęcka. Born into the noble Łabęcki family, Teresa shared Feliks's passion for culture and creativity, enriching their shared journey with her grace and elegance.

Henryk Jasieński, son of Feliks Aleksander Jan Jasieński and Teresa Jasieńska, was born on October 9, 1888, in Kielce-Pisary. He inherited a rich legacy of art and culture from his esteemed parents and dedicated his life to preserving and promoting cultural heritage.

Growing up in an environment steeped in artistic fervor, Henryk absorbed his parents' passion for creativity and cultural exploration. Their home in Krakow served as a vibrant hub of intellectual discourse and artistic exchange, nurturing Henryk's innate curiosity and love for the arts from an early age.

Following in his father's footsteps, Henryk embarked on a mission to safeguard Poland's cultural heritage. With deep reverence for art and history, he became the custodian of his family's extensive collection, ensuring its preservation for future generations. His commitment to cultural stewardship extended beyond the confines of his familial legacy as he actively engaged in initiatives to protect and promote Poland's rich artistic heritage.

In addition to his role as a guardian of cultural heritage, Henryk was also a devoted husband to Halina Magdalena Jasieńska, sharing with her a passion for art and culture. Together, they continued the Jasieński family's tradition of patronage and philanthropy, supporting various cultural endeavors and initiatives.

Henryk Jasieński's legacy is one of unwavering dedication to preserving Poland's cultural heritage and fostering a deeper appreciation for its artistic treasures. His tireless efforts as a custodian of art and culture continue to enrich the cultural landscape of Krakow and Poland, ensuring that future generations inherit a legacy of beauty, creativity, and cultural enlightenment.

 

And all of this we deduced from a small stamp with the following dimensions:  hight: 3.5 cm, width: 2.8 cm. Is it worth collecting poster stamps?

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