Maria Dulębianka (21 October 1861 – 7 March 1919) was a Polish artist and activist, notable for promoting women’s suffrage and higher education. She studied art in Warsaw, Vienna and Paris, two of her works gaining distinctions in the 1900 Paris Exposition. Many of her paintings were portraits of her lifelong companion, the poet Maria Konopnicka. In 1908, Dulębianka stood for the Agrarian Party in the elections to the Galician Parliament, but was disallowed as a woman by parliamentary rules. When Polish women gained the vote in 1918, Dulębianka served as a delegate to the Provisional Governmen
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Activism In 1897, Dulębianka joined the Emancipation Center in Lviv and successfully pressed the city to establish a women's high school, enabling girls to access higher education. She published articles on women's issues in the feminist journal Ster (The Rudder) and worked as an editor for Głos Kobiet (Women's Voice) and the Kurier Lwowski (Lviv Courier). In 1901, Dulębianka gave a lecture in Zakopane called Dlaczego ruch kobiecy rozwija się tak powoli? (Why is the Women's Movement Developing so Slowly?). The following year, she gave a talk about women's artistic activity and in 1903 published the article O twórczości kobiet (About Women's Creativity) in Głos Kobiet. Dulembianka fought for the admission of women to the ranks of the students of the Kraków School of Fine Arts and for the creation of a female gymnasium in Lviv. She was also regularly published in the feminist magazine "Ster", published by Paulina Kuchalska-Reinschmidt. In 1902, Konopnicka's 25-year career as a writer was celebrated and as the highest honor that could be bestowed at the time, she was given a home in Żarnowiec as a national gift. From 1903, she and Dulębianka spent their springs and summers at the manor house, but continued to…
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Maria Dulębianka (21 October 1861 – 7 March 1919) was a Polish artist and activist, notable for promoting women’s suffrage and higher education. She studied art in Warsaw, Vienna and Paris, two of her works gaining distinctions in the 1900 Paris Exposition. Many of her paintings were portraits of her lifelong companion, the poet Maria Konopnicka. In 1908, Dulębianka stood for the Agrarian Party in the elections to the Galician Parliament, but was disallowed as a woman by parliamentary rules. When Polish women gained the vote in 1918, Dulębianka served as a delegate to the Provisional Government. She died of typhus, contracted while assisting prisoners in the Polish–Ukrainian War of 1919.
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R.I.P Maria
Early life Maria Dulębianka was born on 21 October 1861 in Kraków, Grand Duchy of Kraków, Austrian Empire, to Maria of Wyczółkowscy and Henryk Dulęba. Her family were landowning gentry with her mother's family bearing the coat of arms of Ślepowron and her father's, the Alabanda coat of arms. She attended the Maliszewska finishing school in Kraków and took private art lessons from Jan Matejko until 1872. Unable to gain admittance to the Kraków Academy of Fine Arts because she was a woman, Dulębianka went on to further her studies at the Vienna School of Arts and Crafts, where she studied with Leopold Horowitz. After two years, she moved first to Warsaw, where she trained with Wojciech Gerson, and then in 1884 to Paris to train at the Académie Julian. In Paris, she studied with William-Adolphe Bouguereau, Carolus-Duran, Jean-Jacques Henner, and Tony Robert-Fleury until 1886. The majority of Dulębianka's paintings were portraits or scenes of women and children. After first exhibiting in Kraków, she participated in showings in Warsaw and later Paris.
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In 1887, Dulębianka returned to Warsaw intent upon opening an art school for women. A supporter of women's suffrage, she advocated for women to be admitted to the Kraków Academy of Fine Arts as early as 1885. In 1889, she met Maria Konopnicka, a mother of eight children and a writer, who was living independently and separated from her husband, Jarosław Konopnicki. Dulębianka was almost 30 at the time, and Konopnicka was 19 years her senior. The two became inseparable and from the time of their meeting, Konopnicka became the main subject of Dulębianka's paintings. The nature of their relationship has not been conclusively settled by academics, in part because after their deaths letters were burned by family members, but also because Konopnicka was aware official censors might read her correspondence and rarely wrote about family matters even in her published works. Krzysztof Tomasik, who wrote about Dulębianka in Homobiografie (2008), confirmed that she had had other relationships with women and that the couple had friends who were known lesbians, though the term was not in use at the time. Konopnicka became a strong influence on Dulębianka, who increasingly became involved in social welfare projects and activism for women's rights.…
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Wherever they were living, Konopnicka made sure that Dulębianka had a studio to enable her to continue painting. She presented her works at exhibitions and participated in events in Dresden, Kiev, London, Lviv, Munich, Paris and Prague. In 1900, at the Paris Exposition, two of her paintings — Na pokucie (On Penance) and Sieroca dola (The Orphan's Fate) — were honored with distinction and a third, Studium dziewczyny (Girls' Studio) was purchased, while still on display, by the National Museum in Kraków.
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Dulębianka died on 7 March 1919 in Lviv and was buried in Konopnicka's tomb in Lychakiv Cemetery. The funeral was widely attended as a patriotic event, attracting women's movement activists and single mothers, as well as residents of shelters and the residents' guardians. Dulębianka's remains were later re-interred in a separate grave. Dulębianka, like many women's activists, disappeared from history books until the resurgence of feminism in the 1990s. She is recognized for her pioneering work on women's rights, for helping to gain admission of women to the Academy of Fine Arts, and for establishing the first girl's high school in Lviv. Her historic campaign in 1908 is remembered as a milestone in the struggle for women's suffrage in Poland. In 2018, a film, Siłaczki by Marta Dzido and Piotr Śliwowski was released. It described the struggle of Polish women to gain equal rights and Dulębianka was portrayed by Maria Seweryn.
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Further reading Tomasik, Krzysztof (2008). Homobiografie: pisarki i pisarze polscy XIX i XX wieku [Homobiographies: male and female Polish writers of the 19th and 20th centuries] (in Polish). Warsaw, Poland: Wydawnictwo Krytyki Politycznej. ISBN 978-83-61006-59-6.
