Chełmoński's "Four-in-hand": A Close Look
Explore the intricate details of Józef Chełmoński's masterpiece through an interactive in-painting tour. Discover the artist's techniques and the story behind the artwork
ReadFour-in-hand (1881) by Józef ChełmońskiThe National Museum in Krakow
Painter of horses and eastern landscapes
Painted in Paris between 1875 and 1887, this dynamic work showcases Chełmoński's popular style, featuring horse-drawn carriages in landscapes. Chełmoński lived in France for twelve years, enjoying popularity, especially among American art collectors.
Four-in-Hand by Józef Chełmoński (1849-1914) is the most well-known and most often cited example of Naturalism in Polish art. It is a large-format canvas, measuring more than six and a half metres in length.
The painting's movement is emphasized by contrasting the energetic horses with the static, monotonous background landscape. This juxtaposition creates a powerful visual effect.
Witness the raw power of Chełmoński's four horses, depicted in a dramatic, close-up view that draws the viewer into the scene. Their harnessed energy is palpable.
Chełmoński's skill in harmonizing colors, likened to a musical composition, reflects his musical talent. Colors were his 'instruments,' creating a unified tone.
Tap to explore
A National Treasure
In 1899, Four-in-Hand joined Krakow's National Museum, taking its place among masterpieces by Matejko and Siemiradzki in the Sukiennice.
Józef Chełmoński's Letter to Władysław Łuszczkiewicz (1899-07-01) by Józef ChełmońskiThe National Museum in Krakow
After returning from Paris to Poland, the artist established contact with the Krakow artistic and intellectual circles. The letter confirms Chełmoński's joy over the acquisition by the museum in 1899 of a picture.
Evacuation of the Collections of the National Museum in Krakow During World War II (1939) by UnknownThe National Museum in Krakow
Preserving 'Four-in-Hand'
During WWI and WWII, Four-in-Hand was safely stored. Its canvas was removed from its stretchers for transport and preservation.
Paintings after the gallery was dismantled in 2007. Winding the image onto the spool. by Elżbieta ZygierThe National Museum in Krakow
To prepare for exhibitions in Zurich and Paris, 'Four-in-Hand' underwent conservation, including relining the canvas to strengthen it.
Reverse of The Four painting: stretchers by Józef ChełmońskiThe National Museum in Krakow
The wooden stretchers were replaced with a modern self-tensioning wood-aluminium structure with programmable action to ensure the correct tension of the support.
Four-in-had before conservation (1881) by Józef ChełmońskiThe National Museum in Krakow
A Four-Year Renewal
The painting's aged varnish and soiled surface necessitated a major restoration. This four-year process, completed in 2024, involved careful cleaning and structural repairs.
The main reason for undertaking the work was the visible soiling of the painting's face and the darkened varnish which seriously altered the colours of the work. This soiling and darkened varnish acted like a dark filter applied to the image, depriving it of contrast and flattening the perspective of the scene depicted.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during conservation: cracks and dirt on the paint layer by Józef ChełmońskiThe National Museum in Krakow
The discoloured retouches introduced new forms that were confusing to the viewer, for example, resembling clouds in the part depicting the sky.
Years of rolling, transport, and aging caused vertical cracks and wrinkles in the paint. Heavily diluted paint also led to shrinkage and early drying cracks, exposing underlying layers.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during conservation: cleaning attempts by Józef ChełmońskiThe National Museum in Krakow
The safe cleaning of the sensitive 19th-century paint layer was a major challenge. Before removing yellowed varnish and stains, a number of tests were carried out to develop the correct methods of action.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during conservation: cleaning the paint layer with compresses (2022) by Józef ChełmońskiThe National Museum in Krakow
Traditional cleaning methods were used in some areas of the paint layer. In particularly sensitive areas, it was decided to use compresses made of absorbent non-woven fabric soaked in solvents, acting without rubbing the surface.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during varnish removal: UV photography by Józef ChełmońskiThe National Museum in Krakow
The cleaning process was monitored and documented under ultraviolet light. This causes a greenish fluorescence of old varnishes, and retouches show up as dark spots, thus making it possible to distinguish precisely between secondary and original layers.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during conservation: cracks and dirt on the paint layer by Józef ChełmońskiThe National Museum in Krakow
Defects in the ground and paint layer were repaired and the painting was revarnished.
The restoration work was accompanied by research into the painting, which identified the materials used by the artist and enabled the creative process to be traced.
Studies of Józef Chełmoński's painting Czwórka: X-ray by Józef ChełmońskiThe National Museum in Krakow
X-Ray Insights
X-rays revealed Chełmoński's adjustments to the horse-drawn cart, revealing a more natural composition than his initial, dynamic sketch.
Chełmoński's final composition subtly shifts the horses' positions, creating a more realistic and grounded scene while retaining its expressive power.
By lowering the horizon line, the positioning of the observer changes, increasing the sense of danger in the viewer.
Microscopic analysis, including µXRF, SEM-EDS, and Raman spectroscopy, revealed the painting's multi-layered structure and compositional changes over time. Cross-sections showed the build-up of paint layers. This non-invasive study helped understand the artist's techniques and the painting's history.
Research Summary
Hear from the experts about the four-year restoration of Chełmoński's masterpiece, Four-in-Hand. Discover the challenges and innovative techniques used.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during conservation: method of painting by Józef ChełmońskiThe National Museum in Krakow
The painting was painted with sweeping brushstrokes, resembling abstract forms up close, while at a distance they form an evocative landscape.
Conservation of Józef Chełmoński's painting Four-in-Hand. Detail of the painting during conservation: method of painting (2022) by Józef ChełmońskiThe National Museum in Krakow
The cool, clear tones of the sky reflected in the puddles enliven the monotony of the land, as does the mud scattered by the horses' hooves.
Conservation of Józef Chełmoński's painting Four-in-Hand. Fragment of the painting during conservation: method of painting by Józef ChełmońskiThe National Museum in Krakow
This muted landscape is the setting for an expressively framed, speeding horse-drawn cart.
Four-in-had before conservation (1881) by Józef ChełmońskiThe National Museum in Krakow
The varied painted texture of the landscape parts is rich in impasto, thick points, and depressions. The cart and the two men are painted vigorously, but with more precision.
Before restoration...
The analyses were carried out as part of an interdisciplinary research project accompanying Józef Chełmoński's monographic exhibition.
Four-in-hand (1881) by Józef ChełmońskiThe National Museum in Krakow
... and now: restored Masterpiece
Józef Chełmoński's painting after conservation. The conservation process and the results of the research will be presented in a exhibition accompanying the presentation of the artist's works at the National Museum in Krakow.
Dominika Sarkowicz, Joanna Zwinczak, The Painting and Sculpture Conservation Studio at the Sukiennice
