Jan Brunon Bułhak (1876–1950) was a pioneer of photography in Poland and present-day Belarus and Lithuania, and one of the best-known Polish photographers of the early 20th century. A theoretician and philosopher of photography, he was among the most prominent exponents of pictorialism. He is best known for his landscapes and photographs of various places, especially the city of Vilnius (then in Poland, now in Lithuania). He was the founder of the Wilno Photoclub and Polish Photoclub, the predecessors of the modern Union of Polish Art Photographers (ZPAF), of which he was an honorary headperson. He is also known as an ethnographer and folklorist.
Table of Contents
- 1 Biography
- 2 Photography
- 2.1 Beginning
- 2.2 First successes
- 2.3 Professional work
- 2.4 Last years
- 2.5 Jan Bułhak Fotografik
- 2.6 Wawel
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Biography
Jan Bułhak was born on October 6, 1876 in Ostaszyn (Belarusian: Асташын), near Navahrudak (Belarusian: Навагрудак), Russian Empire (now Belarus). His parents were Walery Antoni Stanisław Bułhak of Syrokomla and Józefa née Haciska of Roch, both local landowners in Ostaszyn. In the village of Worończa (Belarusian: Варонча) near Navahrudak, not far-off from St. Ann’s Roman Catholic church (Belarusian: Касцёл св. Ганны), there are four graves of Jan Bułhak’s ancestors.
In 1888, Jan entered a gymnasium (a pre-Revolution additional public hypothetical of the Russian Empire) in Wilno (present-day Vilnius), finishing it in 1897. From 1897 to 1899, he studied literature, history and philosophy at Jagiellonian University, Kraków, but did not graduate because of nonattendance of money. Back home, he lived in the village of Peresieka (Belarusian: Пярэсека) near Minsk, where he inherited a manor after his great-uncle’s death. From there, Bułhak sent his news stories to Wilno newspapers. In 1901, he married a cousin, Hanna Haciska. After his father’s death, he sold the manor and bought a mansion from the Radziwiłłs in Belitsa, near Minsk. On April 27, 1906, the couple had a son, Janusz Bułhak, who would become a composer and a photographer.
Photography
Beginning
Jan Bułhak grew enthusiastic in photography quite by fortuitous in 1905, when his wife was unchangeable a camera. The same year, he took his first pictures: portraits, landscapes, environs. In the beginning, he was advised by Bolesław Ignacy Domeyko, a Navahrudak photographer, who helped him in the basics of photography.
In 1908, he created a darkroom of his own in Peresieka. That December, he made his debut and won the main award at a photo competition govern by Życie Ilustrowane (“Illustrated Life”), a weekly addition to Kurier Litewski (“Lithuanian Courier”).
First successes
In 1910, Jan Bułhak participated for the first mature in the World Photo Exhibition in Brussels. He corresponded following the Paris Photoclub and the French photographers Emil J. Constant Puyo, Robert de la Sizeranne, and Léonard Misonne. Two issues of the Berlin Photographische Mitteilungen (“Photographic News”) in 1910 contained his pictures. Bułhak sent his pictures and news stories to the Warsaw magazine Ziemia (“Earth”) as without difficulty as to the Polish Local Lore society. He published many translations and articles in Polish magazines and inculcated the aesthetics of Pictorialism in the minds of his readers.
From November 1910, Bułhak regularly contributed his writings upon photography to the monthly Fotograf Warszawski (“Warsaw Photographer”). He with soon began contributing to Tygodnik Wileński (“Vilnius Weekly”) (up to 1939), and Deutscher Almanach (“German Almanac”).
In 1911, Bułhak organized a photo-exhibition in Minsk. He participated in a photo exhibition in Ciechocinek, Poland; and established an honorary diploma in the category of artistic portraits at a contest in Antwerp.
Professional work
Fotographika in purpose of fact sticks out of the photo books from the on fire due to the solid, print form, manifested not too much in the pictorial and impressionist styles of photography art, but in layouts of books. In Fotographika, Bulhak shows that he cares and draws attention through the definition of photographic reproductions. Fotographika was pioneering for the alive consideration of form and air of photo publications in Poland. The compilation shows Jan Bulhak as a person that a daddy figure to generations of amazing photography beginners looking to practice and aspired the called artists, as with ease as offering glamorous contribution to reflection upon the image of the artists.Jan Bulhak could furthermore be considered as a prominent producer gone it came to the concept of self-promotion and entrepreneurial doling out of a photographer’s activity.
Acquaintance similar to Ferdynand Ruszczyc
It was Bułhak’s notice in Fotograf Warszawski in 1910 that drew the attention of Ferdynand Ruszczyc, a Polish painter, printmaker, and a professor at the Fine Arts Department of the Stefan Batory University (now Vilnius University); and it was Ruszczyc who helped Bułhak impinge on to Vilnius.
Later, Ruszczyc had an appreciable influence on him as photographer. Though Bułhak’s views upon art, inspired by French aestheticians, had already formed, Ruszczyc helped to slant the amateur photographer into a professional: the painter taught him some specific techniques of composition to perceive birds and architecture.
Study in Germany
After this Bułhak studied photography in Dresden, Germany, where he acknowledged some practical tutoring from the German portrait-painter Hugo Erfurth. He in addition to visited various Dresden societies, where he became acquainted as soon as the symbolists and impressionists.
Start at Vilnius
In 1911, Ruszczyc suggested that the Vilnius Magistrate (city council) should create the slope of “city photographer”, and Bułhak was asked to accept it. Thus, Bułhak became the Vilnius city photographer, and photography became his main business.
In 1912, he opened a photographic studio at 12 Portovaya Street, Vilnius. At the demand of the Vilnius Magistrate and in cooperation taking into consideration the municipal curator, Bułhak started making a “photographic inventory” of the city and took pictures of its historic landmarks from 1912 to 1915.
Vilnius period
The major allowance of Bułhak’s feat is connected in imitation of Vilnius and its surroundings; he plus documented the monuments and landscapes of some extra parts of Poland: Warsaw, Kraków, Hrodna, Lublin, and hence on. Bułhak sent a series of his photos to the Vestnik fotografii (“Photo Bulletin”, Russian: «Вестник фотографии») magazine, which he co-operated bearing in mind from 1913 to 1914. In Bułhak’s house in Eliza Orzeszkowa street, a hoard of twelve thousand pictures was stored, most of them taken from 1912 to 1915.
From 1919, with Ruszczyc’s put going on to and encouragement, Bułhak started lecturing on artistic photography at the Fine Arts Department of the Stefan Batory University; he would continue until 1939.
In 1919, he became one of the founders and the chairman of the Vilnius Photoclub (Polish: Fotoklub Wileński) (other sources say that he founded the photoclub and had headed it since 1927); and headed it until the Begin of World War II. He and Marian Dederko were the founders of the Polish Photoclub (Polish: Fotoklub Polski) in 1929 or 1930.
From 1919 to 1939, Jan Bułhak headed the photographic section (workshop) of the Fine Arts Department of Stefan Batory University in Vilnius.
From 1935 to 1939, he was one of the editors of the magazines Przegląd Fotograficzny (“Photographic Review”) and Fotograf Polski (“Polish Photographer”).
In 1939, the collection titled Polska w obrazach fotograficznych Jana Bułhaka (“Poland in Jan Bułhak’s photographic pictures”) contained higher than 11,000 photos approved into 158 subject albums: Vilnius, Kresy, Volhynia, Lviv, Warsaw, Kraków, Poznań, Pomerania, Gdańsk, Nowogródek Voivodeship and others. By World War II, Bułhak had taken amid 40,000 and 100,000 photographs. In 1939, he presented the growth to the Polish state, but most of these negatives perished during the war.
Under the pastime during World War II, Jan Bułhak together next his son continued to photograph the destruction of many places in what was subsequently Poland.
Last years
In 1944, after bombardments, Bułhak’s studio in Vilnius burned down; about 30 thousand negatives perished, but some were spared.
After World War II, in July 1945, he resettled in Warsaw. There, he took nearly a thousand photographs of destroyed and restored Warsaw, and approximately two thousand of the western home attached to Poland.
Though Jan Bułhak’s son Janusz studied music at the Vilnius Conservatory, the daddy taught him photography, so Janusz united him in 1940s and all photographs made from 1945 to 1949 are signed “Jan Bułhak and son”.
In 1946, in Warsaw, with urge on from Stanisław Lorentz, the director of Muzeum Narodowe w Warszawie (the National Museum), the first postwar exhibition by Jan Bułhak took place: Warszawa 1945 roku w obrazach fotograficznych Jana Bułhaka (“Warsaw of 1945 in Jan Bułhak’s Photographic Images”).
In 1946, he and Leonard Sempoliński became founders of the revived Union of Polish Pictorialists (Polish: Związek Polskich Artystów Fotografików), the successor to the Polish Photoclub, and headed it until his death. His supporter card was number 1.
Bułhak took share in higher than 170 international exhibitions, and usual a number of high awards. For his photograph titled Radość życia (“Joy of Life”), which shows a shaded room taking into consideration sun rays entering, he standard the Golden Medal at the International Photographic Show (Polish: X Międzynarodowy Salon Fotografii Artystycznej) in Warsaw in 1937.
He died gruffly in Giżycko during a photographic excursion upon February 4, 1950.
Last update 2021-08-06