Poisoned Well II 

Curator: Immediately striking is the emotional ambivalence. Two young women, draped in similar striped robes, occupy most of the canvas. One regards the contents of a ceramic vessel with something like distaste while the other gazes elsewhere with almost strained cheerfulness. Editor: That's interesting because Jacek Malczewski's "Poisoned Well II," an oil painting, depicts a scene fraught with social tension. Look at the inclusion and expressions of figures. They bring in social themes. How do you interpret the dynamics displayed within the painting's composition? Curator: The visible brushstrokes certainly add to the immediacy. You can see where Malczewski built up the texture of the paint, particularly in the robes. They seem almost hastily rendered, which contrasts with the smoothness of the figures' faces. I am intrigued by the contrast between the seemingly fine fabric of their clothing and the rough texture of the landscape. The way the landscape is worked it seems as if it's a comment on the conditions around them. Editor: And that landscape beyond contributes immensely to my interpretation. Malczewski made this painting towards the beginning of the twentieth century, at a moment of political fragmentation in Poland, a landscape as troubled as the painting's central relationship. The well as a poisoned cultural fountain for the folk from which they sprang. Curator: You’ve put your finger on something central, the interplay of cultural sources in shaping Malczewski’s creation. It makes you think about artistic labour in society in ways which often gets flattened in typical analyses of his painting. There are more elements from different practices like the painting and dyeing. The inclusion of diverse media expands artistic practices, influencing perceptions and opening opportunities in production of painting. Editor: Right, this wasn’t made in a vacuum. Polish identity and art production during a time when Poland didn't exist politically became intertwined with efforts to maintain cultural and national distinction. Consider the politics around imagery and Malczewski's choice of subject. Curator: All things to think about for our listeners here at the gallery. Editor: Absolutely. A layered piece begging a contextual response from everyone involved.