Sunset in Tobolsk

Author: Damel Jan , 1780 - 1840

Created: XIX century

Material / technique: oil on canvas.

Dimensions: 53,5 x 97 cm. 

Jonas Damelis (1780-1840) is one of the most famous representatives of the Vilnius School of Art, Pupil of Francis Smuglevičius and Jonas Rustemas. The most important facts of the artist's biography are known: after his studies, he worked for a while as a drawing teacher at the Vilnius Gymnasium, settled in Minsk around 1816, was exiled to Tobolsk in 1820-1822, and after the amnesty he returned to Minsk, where he stayed until his death, only leaving for a short time. Despite this rather stable life, his work was and still is rather little known. His works, especially his paintings, are rare in museum collections and private collections. This may be explained by the fact that the most comprehensive publication on Damel's life and work to date was written by the artist Adam Šemšis in the 19th century and that it has been only slightly expanded by subsequent research. Every newly discovered painting by the painter is therefore an event of great importance. The painting 'Sunset in Tobolsk' in a private collection is one of these significant discoveries. We know from the above-mentioned publication by A. Šemešis that Damelis painted several times after his return from exile Tobolsk, inspired by an impression of the vastness of Siberia, which was also described by the artistin his diary: "Overcast sky, rain in the distance, only part of it strongly lit the setting sun. In the distance, the steep bank of the Irtysh, on which the city stands, in the light".Indeed, the lighting effects and the emotional mood they create are masterfully rendered the biggest advantage of this spectacular landscape. According to Shemesh, Damel painted several versions of "Sunset in Tobolsk" on his return to Minsk, two of which were in the collections of Kobylinsky and Legatovich in Minsk in the 19th century, and another in the first half of the 20th century at the Moshinsky estate in Loniovo. So far there is one known surviving canvas of this subject, housed in the National Museum in Krakow. This painting is not identical to the Vilnius version - it is larger in format, brighter colour, with more accentuated contrasts of light and dark, and a more developed composition. The first plan of the landscape of KROKUVISKY, in the shadow, shows figures mentioned also in 1842. In the description of the work by A. Šemešis, on the left side, closer to the building, the artist depicted himself sitting in a chariot, painting a city in the distance on canvas. Near the artist immortalised his friend (Šemešys named him with the initials P. R.), and to the far right formed a group of Tatars. It is important to note that the Vilnius canvas does not have any figures in the foreground. Vilnius canvas is not only smaller in size, but also less bright, softer in colour, a little more free in drawing. However, a comparison of the two canvases shows that both landscapes are by the same hand works. As the landscapes are not identical, they cannot be seen through the prism of the original and the copy. Given the absence of figures on the smaller canvas in Vilnius, it is reasonable to assume, that this canvas is a primary study, perhaps painted from life. A. Šemešys, in his article, very emphasised the importance of nature studies in Damel's work and considered these studies to be the on the basis of originality. Apparently, only later, in the workshop, when I painted a landscape based on an etching, the artist also depicted himself on the canvas, as if looking at the scene from the side, from memory perspectives. So it may be that the spectacular composition in the Cracow Museum captures the moment of creation of a more modest etude in Vilnius. (Dr. (hp) Rūta Janonienė).