About the Panorama of the Battle of Racławice ()

The painting entitled Panorama Racławicka is one of the most recognisable historical artefacts of Polish culture. This is not merely a picture painted at the end of the 19th century by a group of prominent artists, but a kind of spectacle comprising many elements, all of which affect the viewers and create an impression of participating in the events of the victorious battle during the Kościuszko Uprising. Despite the fact that this work of art was painted in rather particular circumstances in Polish history and was supposed to play certain specific roles, today it still enjoys unwavering popularity, arouses admiration, amazement and emotion – all of which confirms its unique timelessness. It is also the only surviving Polish panorama, and one of only a dozen such historical works existing in Europe.

Panorama Racławicka was shown to the public in its present location in Wrocław in June 1985, but before this became possible, the painting was one of the greatest attractions at the General National Exhibition in Lwów (now Lviv) in 1894. Poland was then subjected to the partitions carried out by the neighbouring empires, however in the region known as Austrian Galicia (Ger. Galizien), which became a part of Austria-Hungary (also referred to as the Dual Monarchy), it proved possible to organise a grand exhibition presenting a broad spectrum of Poland’s economic and cultural achievements. It was no coincidence that the local authorities decided to open the exhibition in 1894, as it was meant to commemorate the 100th anniversary of the victory of the army led by Tadeusz Kościuszko over Russian forces, in the famous and already legendary Battle of Racławice. In order to realise the growing importance of this event to the Polish nation in over the hundred years which followed the battle, it is necessary to make a brief reference to the Uprising itself and the persona of its extraordinary leader. Tadeusz Kościuszko – a general, military engineer and a man of honour – was an exceptional person, even ahead of his time. The determination and dedication with which he strove to strengthen his compatriots’ faith in the possibility of Poland regaining its independence, and his capability to embody the idea of the common fight for freedom by various social classes, undoubtedly deserve respect and unceasing remembrance. It is also worth noting that he showed a similar determination in defending the freedom of other nations, especially in his service during the American War of Independence. He was also deeply interested – which was fairly unusual at that time – in the fate of the individual enslaved by the system in which they happened to live, postulating, among others, freeing peasantry from serfdom (which – in the ways available to him – he personally carried out), as well as fighting for freedom and equal rights for Afro-Americans. Thus it is not surprising that in 1792 Kościuszko took part in the Polish-Russian war, defending the Constitution of 3 May 1791, and following the accession of King Stanisław August Poniatowski to the Targowica Confederation, he refused to continue commanding the Polish army. Two years later, in the main square (Rynek) of Kraków, Tadeusz Kościuszko ceremonially pledged his allegiance to the Polish nation and swore to fight for its freedom, thus initiating the insurgence – the Polish Uprising to defend freedom and independence of the country. Thus, the victorious battle fought against the Russian army on 4 April 1794 in the village of Racławice under the command of Tadeusz Kościuszko, became one of the most important events which for 120 years kept alive Polish hopes for regaining national independence. Yet, as unanimously stressed by historians, from the strategic point of view, the Battle of Racławice was not of great importance, however it became the symbol which shaped the pro-independence stance of the next generations of Poles. Above all, it raised the belief that the victory of the weak over the strong was possible. Secondly, the battle had a highly significant societal dimension, as Kościuszko encouraged the participation of serfs armed with their scythes, convinced that the desired results could be achieved only by unifying all the social strata under the same banner. In this way, the Battle of Racławice became a symbol of the serfs’ surge for independence, and a legendary event which over time took on diverse symbolical meanings. Both the battle and the figure of Tadeusz Kościuszko became an inspiration and an important motif of many literary and artistic works, as well as of special commemorative celebrations such as those which accompanied the construction of the famous Kościuszko Mound in Kraków soon after his death. The events of the Uprising held a special symbolism for the Polish Legions in Italy (as clearly suggested by the final verse, subsequently omitted in the official version, of Mazurek Dąbrowskiego which later became the Polish national anthem), and also during the November Uprising of 1831 and the January Uprising of 1863. The numerous pieces composed and sung in those times made references to General Kościuszko and the victory of Racławice (e.g. "Cześć polskiej ziemi, cześć", "Krakowiak Kościuszki" ("Bartoszu, Bartoszu") and "Polonez Kościuszki"). The themes related to Racławice also appeared in well-known Polish literary works such as the epic poem "Pan Tadeusz" by Adam Mickiewicz (the main protagonist was named after Kościuszko) and the drama "Wesele" by Stanisław Wyspiański. The motifs related to the Uprising can be also seen in other art forms, such as the famous painting Kościuszko pod Racławicami painted by Jan Matejko in 1888.

Panorama Racławicka, by gathering all the mythology of the victorious battle, became a symbolic reminder of the ideals of the Kościuszko insurrection, pertinent in Poland, at that time still divided under the Partitions.

The Panorama of the Battle of Racławice was a collective work by eminent Polish painters led by Jan Styka – the initiator of this concept – and Wojciech Kossak, together with seven other artists: Ludwig Boller, Tadeusz Popiel, Zygmunt Rozwadowski, Teodor Axentowicz, Michał Sozański, Włodzimierz Tetmajer and Wincenty Wodzinowski.

The canvas depicts the battle which took place on 4 April 1794, in the fields surrounding the village of Racławice, situated around 40 km north-east from Kraków. The artists decided to show the moment of the attack by serfs armed with their scythes on the Russian artillery positions, which was decisive for the Polish victory over the enemy forces. This is the scene visible to the visitors immediately on entering the viewing platform located in the central part of the rotunda. Other sections of the painting show the fierce fighting between the Polish and Russian armies, enriched by various narrative threads, as well as other occurrences on the battlefield. The general perception of the Panorama of the Battle of Racławice is enhanced by the magnificent and realistic rendition of the landscape, stunning the viewer with its spaciousness.

The gallery housing the entire painting of the battle, also showcases other artefacts from the MNWr collection which are linked with that historical monument, among which are some highly interesting sketches and studies made in preparation to painting the panorama, and works dedicated to Tadeusz Kościuszko and to the Battle of Racławice itself.
[Anna Jezierska]