Zbigniew Pronaszko (1885 Debrecen - 1958 Krakow), Knight of the North, ca. 1910

oil, canvas, 65 x 55 cm
Signed l.d.: "Z. Pronaszko"

on the frame fragmentarily preserved exhibition sticker from the Society of Friends of Fine Arts in Krakow (?)

Exhibited:
- Towarzystwo Przyjaciół Sztuk Pięknych w Krakowie (?)

Zbigniew Pronaszko studied in the studio of Teodor Axentowicz, but it was his contact with Jacek Malczewski that proved crucial to his creative development and determined the direction of his further artistic pursuits. It is worth mentioning that the Pronaszek family maintained close contacts with Wlastimil Hofman. Hofman, who was a few years older, began his studies at the Academy of Fine Arts in Cracow as early as 1896, also under Malczewski. Both painters "patronize the youthful phase of Zbigniew Pronaszko's work, covering the years 1909-1912. The fledgling artist, while remaining in the orbit of modernism and symbolism, also used its formal means." (Teresa Sowińska, "Zbigniew Pronaszko," Warsaw 1984, p. 13.).

Man was the subject that Pronaszko took up most often in his work. In the period around 1910, there is a group of winter compositions depicting figures in militaristic attire. An example is both the presented painting "Midnight Knight" and "Recollection" belonging to the collection of the National Museum in Krakow. (il. I). The paintings share similar scenery, as well as the motif of soldiers struggling against a snowstorm, which was popular in 19th-century European painting. However, Zbigniew Pronaszko changed the realistic iconographic convention by using symbolism. In the figure of the midnight knight one can find a portrait of the artist's brother, Andrzej Pronaszko. (il. II) (il.III). "The portraits of Andrzej's mother, father and brother testify to the young artist's complete mastery of the realistic technique and at the same time to the unique splendor of his coloring." (Helena Blumówna, "Zbigniew Pronaszko", Warsaw 1958, p. 10). When creating the portrait of his brother, the artist consciously limited himself to the juxtaposition of only a few interacting colors, which testifies to his excellent skill in the use of color. The portraits of these, the closest members of the family, are distinguished from other representations by their incredible freedom of painting and decorative form, as can be seen in the depicted "Knight of the North."