Who painted Portrait of Mrs. Sowińska, general's wife (1776–1860)?

Portrait of Mrs. Sowińska, general's wife (1776–1860) was painted by Ludomir Szpadkowski in 1900.

Where can I see Portrait of Mrs. Sowińska, general's wife (1776–1860)?

Portrait of Mrs. Sowińska, general's wife (1776–1860) is held by National Museum in Warsaw.

What movement is Portrait of Mrs. Sowińska, general's wife (1776–1860)?

Portrait of Mrs. Sowińska, general's wife (1776–1860) is associated with Post-Impressionism.

Artwork

Portrait of Mrs. Sowińska, general's wife (1776–1860)

Ludomir Szpadkowski , 1900

Portrait of Mrs. Sowińska, general's wife (1776–1860) is an oil painting by the Post-Impressionist artist Ludomir Szpadkowski. It dates from 1900 and is held in the collection of the National Museum in Warsaw.

About this work

Overview

Ludomir Szpadkowski’s oil portrait, titled Portrait of Mrs. Sowińska, General’s Wife (1776–1860), was painted in 1900 and is part of the National Museum in Warsaw’s collection. The work presents an older woman from the chest upward, set against a muted green backdrop, and emphasizes her dignified presence through restrained colour and composition.

Subject & Meaning

The sitter, identified as Mrs. Sowińska, the spouse of a military officer, is depicted with a veil covering her head and a dark dress. Her gray, curly hair and the lines of age on her skin convey a sense of experience, while her direct gaze and solemn expression suggest personal resolve and the social standing of a general’s wife in early‑twentieth‑century Poland.

Technique & Style

Executed in oil, the portrait employs a realistic approach characteristic of the period, with careful modelling of facial features. Szpadkowski utilizes chiaroscuro to render depth, contrasting illuminated areas of the face with shadowed regions of the veil and clothing, thereby highlighting the subject’s features and imparting a three‑dimensional quality.

History & Provenance

Created at the turn of the century, the painting entered the National Museum in Warsaw’s holdings, where it remains on display. Its provenance traces back to the artist’s studio, reflecting the common practice of commissioning portraits of prominent families during the era.