[6] Masłowski's grandfather from his mother, Wincenty Danilewicz vel Danielewicz,[7] (Ostoja coat of arms, born in 1787 in Mińsk Lit.

In 1875 Masłowski received the silver medal of the Academy of Fine Arts in St. Petersburg, as an award for his school drawings.

During this period he took an active part in the life of the famous atelier rented by a group of artists-painters: J. Chełmoński, S. Witkiewicz, A.Piotrowski and others in the "Hotel Europejski" in Warsaw.

The second trip took place in 1876 (with this Ukrainian visit a number of Masłowski's letters to the artist-painter Władysław Leszczyński are involved).

In 1897 Stanisław Masłowski became a member of the Society of Polish Artists "Sztuka" in Kraków, created at the initiative of Jan Stanisławski.

In 1899 Masłowski issued a number of watercolors in Aleksander Krywult Salon; this year and in 1902 he took part in the exhibitions of the Vienna Secession.

The restless period of 1902–1907 points out the artist's first trip in 1903 to Wola Rafałowska between Mińsk Mazowiecki and Siedlce, where he soon found his synthesis of his Polish landscape.

Plein air in Nowosiółka in Volhynia in 1908 brought 18 watercolours, which then was exhibited in the Society for the Encouragement of Fine Arts (Polish abbr.

In June 1914 Masłowski received an invitation to taking a position as professor at the Warsaw School of Fine Arts.

The next year, Society for the Encouragement of Fine Arts issued a premium reproduction of his painting "Jarema's Duma" (of 1879).

[16] A peculiar fruit of his reading was a translation into Polish of Giorgio Vasari's "Lives of the Most Eminent Painters, Sculptors, and Architects" (probably for the first time before World War I[17]) He was married (from 20 February 1897) to Aniela Ponikowska – sister of Cezary Ponikowski, lawyer (advocate-attorney), the first President of the Supreme Advocates Council in Poland (after restore of the independence of Poland, in 1918).

They had son Maciej Masłowski, an art historian (born in Warsaw 24 January 1901, died in Wysokie Mazowieckie 17 August 1976).

These observations complements and confirms relation of his fellow Miłosz Kotarbinski, in which we can read of the "very distinctive in school, and not yet appreciated Stanisław Masłowski.

Studies on the plaster casts of classical sculpture he led in purely impressive mode, in which forgiving executives completely did not complain.

"[18] The year 1875 brought in Masłowski's life the first images exhibited in the Society for the Encouragement of Fine Arts, namely: "Owczarek" (en.

At this, however, does not exhaust the subject matter and the topography of Masłowski's paintings created in atelier, in early stages of his work.

Generally speaking, Masłowski's way goes from linearity to ornamentation, from value to colour, from oil to watercolour, and in total – from atelier to plein air.

The most interesting result of the Ukrainian and other Masłowski's expeditions were quite precursory studies and sketches from nature – watercolours, pencils, and oils, including "Trójka bałagulska" (en.

"The Wanderer") weekly magazine, i. e. with Aleksander Gierymski and Antoni Sygietyński, with young Józef Pankiewicz and Władysław Podkowiński.

In Masłowski's painting now pushed to the fore the problem of light in the night and day – the colour issue parallel to the value question.

Gerson in criticism in 1888 notes: "Mr. Masłowski sent to the exhibition a "Mazovian Cottage" – a watercolour painting of rare beauty and strength".

From this period come a numerous watercolor studies of Masovia, picking Masłowski in a row of "the first Polish Plein air-ists and Impressionists" (S.

The year 1896 brought synthesis of previous efforts, as exemplified by two major themes: "Sprawa o granicę" (en.

A collective show of his paintings in 1902, in the Zachęta (i. e. Society for Encouragement of Fine Arts) ends the second phase of Masłowski's explorations.

Of the numerous reviews deserves reminder E. Niewiadomski's sentence: "Masłowski's place will be in the same series, in which were artists otherwise of different measure: Kossak Juliusz, Matejko, Grottger, Chełmoński, Piechowski.

In 1903 Masłowski tried his hand in decorative arts – painting a ceiling in the ballroom and chapel choir in a palace at Supraśl.

He did illustrations for "Pan Tadeusz" (special edition in 1905 for subscribers of "Rozwój" Publishers in Łódź),[23][24] as well as other figure compositions, for instance a full of rhythm and expressive image of "Pijani Chłopi" (en.

Plein air in Nowosiółka on Volhynia in 1908 brought 18 watercolors exhibited in the "Zacheta" – Society for the Encouragement of Fine Arts.

In the following years, until 1914, he exhibited in the "Zacheta" – Society for the Encouragement of Fine Arts the landscapes of Italy, Tunisia and Polish of Wola Rafałowska village, including: "Podwórze w Villi d'Este" (en.

The most outstanding works of this time include watercolor paintings from a trip to Italy in 1922[30] and some landscapes of Wola Rafałowska village, such as a few from the year 1924: "Ule" (en.