Jacek Malczewski in Anatolia
May 30 – August 17, 2025
Jacek Malczewski in Anatolia: The archaeological expedition of Karol Lanckoroński to Pamphylia and Pisidia
In the first days of September 1884, Jacek Malczewski (1854–1929) set off from Vienna by rail to Trieste. He was accompanied by two scholars: the Jagiellonian University professor and art historian Marian Sokołowski (1839–1911) and the classical philologist and professor at the University of Vienna, Wilhelm Hartel (1839–1907).
On 9 September, aboard the steamer ‘Argo’, the three travellers set sail for İzmir (today’s Izmir), where they transferred to the ship ‘Venus’ and arrived in Adalia (today’s Antalya) in early October. Thus began Jacek Malczewski’s Anatolian adventure. The painter took part in an archaeological expedition to the historical territories of Pamphylia and Pisidia, organised and financed by Karol Lanckoroński. Its purpose was to inventory the remaining ancient monuments in the area.
While Jacek Malczewski and the two scholars were visiting the island of Rhodes, Lanckoroński was in Constantinople, obtaining the necessary permits from the authorities to carry out the work. By the first days of October, all the members of the expedition were in Adalia. Lanckoroński assembled a distinguished group of scholars who not only knew the area, the customs and language of the inhabitants, but also had experience in similar research in Asia Minor, having participated in the expeditions of Austrian archaeologist Otto Benndorf (1838–1907) to Lucia and Caria in 1881 and 1882. Felix Luschan (1854–1924), archaeologist and ethnographer, professor at the University of Vienna, was also a doctor, and as an amateur photographer, he took pictures of ancient ruins, landscapes, architecture, and the inhabitants. The task of George Niemann (1841–1912), architect and professor at the Vienna Academy of Fine Arts, was to make plans and architectural drawings. Archaeologist Eugen Petersen (1836–1919) was in charge of, among other things, reading inscriptions. Other members of the expedition included the photographer Johann Georg Wassmuth (dates of life unknown), Maurycy Hartel (1859–1905), then a student at the Academy of Fine Arts in Vienna, and the lieutenant of the Corps of Engineering Knesche (first name and dates of life unknown), whose task was to draw maps. Work was carried out in Sillyon, Perge, Aspendos and Side in Pamphylia, and Termessos, Sagalassos, Cremna and Selge in Pisidia. The expedition to the north, to Isparta and Konya, was arguably no longer part of research, but only of a cognitive nature.
The expedition was a huge logistical undertaking, the organisation of which was not easy, despite the fact that Karol Lanckoroński had adequate funds at his disposal. Horses had to be purchased on the spot, pack animals (mules) hired, guides, cooks, and servants. The expedition still faced numerous obstacles, difficulties in travelling, resistance from servants and bearers who did not want to undertake the tedious work. Despite the favour of the local authorities, it was not always possible to find suitable accommodation. Tents were therefore pitched and a kitchen was set up under a temporary roof.
For Jacek Malczewski, who was assigned the role of chronicler of the expedition, this was his first encounter with the ancient world. Most of his works are genre paintings – cavalcades of horsemen, meetings with locals. The artist portrayed members of the expedition at work, in a Turkish kafana, visiting a Sufi sheikh, travelling, and resting. Two self-portraits show the painter at work. Architecture and landscape usually forms the background.
Some of the works – especially sketches – were probably created during the expedition. Many are dated a year later – the artist made them on the basis of sketches, finished works he had begun or used photographs to recreate places and situations from a few months before. He often annotated them on the back – his notes refer to the places depicted and the identification of people. Sometimes, however, memory failed and the painter would note on the back: ‘on the way – where?’. The date 1885, which appears on many of the works, is not coincidental – in that year Karol Lanckoroński showed the ‘artistic trophies’ he had brought back from his Anatolian expedition at an exhibition at the Österreichisches Museum für Kunst und Industrie in Vienna. Among the exhibits were also numerous works by Jacek Malczewski. Stored in the Lanckoroński’s palace in Vienna, confiscated along with the entire collection during World War II, recovered in 1947 and stored at the Sikorski Institute in London, they were donated to the collection of Wawel Royal Castle by Karolina Lanckorońska in 1994.
Jacek Malczewski in Anatolia: The archaeological expedition of Karol Lanckoroński to Pamphylia and Pisidia
In the first days of September 1884, Jacek Malczewski (1854–1929) set off from Vienna by rail to Trieste. He was accompanied by two scholars: the Jagiellonian University professor and art historian Marian Sokołowski (1839–1911) and the classical philologist and professor at the University of Vienna, Wilhelm Hartel (1839–1907).
On 9 September, aboard the steamer ‘Argo’, the three travellers set sail for İzmir (today’s Izmir), where they transferred to the ship ‘Venus’ and arrived in Adalia (today’s Antalya) in early October. Thus began Jacek Malczewski’s Anatolian adventure. The painter took part in an archaeological expedition to the historical territories of Pamphylia and Pisidia, organised and financed by Karol Lanckoroński. Its purpose was to inventory the remaining ancient monuments in the area.
While Jacek Malczewski and the two scholars were visiting the island of Rhodes, Lanckoroński was in Constantinople, obtaining the necessary permits from the authorities to carry out the work. By the first days of October, all the members of the expedition were in Adalia. Lanckoroński assembled a distinguished group of scholars who not only knew the area, the customs and language of the inhabitants, but also had experience in similar research in Asia Minor, having participated in the expeditions of Austrian archaeologist Otto Benndorf (1838–1907) to Lucia and Caria in 1881 and 1882. Felix Luschan (1854–1924), archaeologist and ethnographer, professor at the University of Vienna, was also a doctor, and as an amateur photographer, he took pictures of ancient ruins, landscapes, architecture, and the inhabitants. The task of George Niemann (1841–1912), architect and professor at the Vienna Academy of Fine Arts, was to make plans and architectural drawings. Archaeologist Eugen Petersen (1836–1919) was in charge of, among other things, reading inscriptions. Other members of the expedition included the photographer Johann Georg Wassmuth (dates of life unknown), Maurycy Hartel (1859–1905), then a student at the Academy of Fine Arts in Vienna, and the lieutenant of the Corps of Engineering Knesche (first name and dates of life unknown), whose task was to draw maps. Work was carried out in Sillyon, Perge, Aspendos and Side in Pamphylia, and Termessos, Sagalassos, Cremna and Selge in Pisidia. The expedition to the north, to Isparta and Konya, was arguably no longer part of research, but only of a cognitive nature.
The expedition was a huge logistical undertaking, the organisation of which was not easy, despite the fact that Karol Lanckoroński had adequate funds at his disposal. Horses had to be purchased on the spot, pack animals (mules) hired, guides, cooks, and servants. The expedition still faced numerous obstacles, difficulties in travelling, resistance from servants and bearers who did not want to undertake the tedious work. Despite the favour of the local authorities, it was not always possible to find suitable accommodation. Tents were therefore pitched and a kitchen was set up under a temporary roof.
For Jacek Malczewski, who was assigned the role of chronicler of the expedition, this was his first encounter with the ancient world. Most of his works are genre paintings – cavalcades of horsemen, meetings with locals. The artist portrayed members of the expedition at work, in a Turkish kafana, visiting a Sufi sheikh, travelling, and resting. Two self-portraits show the painter at work. Architecture and landscape usually forms the background.
Some of the works – especially sketches – were probably created during the expedition. Many are dated a year later – the artist made them on the basis of sketches, finished works he had begun or used photographs to recreate places and situations from a few months before. He often annotated them on the back – his notes refer to the places depicted and the identification of people. Sometimes, however, memory failed and the painter would note on the back: ‘on the way – where?’. The date 1885, which appears on many of the works, is not coincidental – in that year Karol Lanckoroński showed the ‘artistic trophies’ he had brought back from his Anatolian expedition at an exhibition at the Österreichisches Museum für Kunst und Industrie in Vienna. Among the exhibits were also numerous works by Jacek Malczewski. Stored in the Lanckoroński’s palace in Vienna, confiscated along with the entire collection during World War II, recovered in 1947 and stored at the Sikorski Institute in London, they were donated to the collection of Wawel Royal Castle by Karolina Lanckorońska in 1994.