The Battle of Raszyn

The Battle of Raszyn, fought on 19 April 1809; painted by January Suchodolski, 1832; Greater Poland Military Museum – a branch of the National Museum in Poznań.

The painting depicts a clash with an enemy twice as strong—the Austrian forces seeking to capture Warsaw. Although the battle itself remained inconclusive, it brought significant moral and strategic advantages to the Poles, who retained control of the battlefield. Suchodolski portrayed the famous infantry assault, covered by artillery, advancing across the causeway toward Falenty, as well as the dramatic death of Colonel Cyprian Godebski, commander of the 8th Infantry Regiment. It is worth noting, however, that the meticulously rendered uniforms of various formations of the Duchy of Warsaw’s army were in fact introduced only by regulations issued in March 1810, after the battle.

The work was created in 1832 and was among the artist’s first paintings devoted to the Napoleonic era. The influence of another painter-soldier, General Louis-François Lejeune—who specialized in panoramic, highly detailed depictions of entire battles—is clearly visible. A similar attention to detail can be observed in Suchodolski’s work.

In the foreground, horse artillery is seen moving into combat positions. In the background, near the Raszyn Pond, Polish infantry forms ranks. At the center of the composition, the artist placed a roadside shrine—beneath it, soldiers attend to the dying Colonel Godebski, whom a military doctor attempts to assist. On a slight elevation stands Prince Józef Poniatowski with his staff, while nearby foot artillery opens fire on the enemy. At the foot of the hill, voltigeurs of the Kalisz Legion—recognizable by their crimson facings—are encamped. In the distance, the church and burning buildings of Raszyn can be seen, while a column of infantry advances along the causeway. The entire scene is enveloped in smoke rising over the battlefield.

Despite the painter’s military competence—as a participant in the November Uprising—the depiction is not free from inaccuracies. Both horse and foot artillery are shown wearing uniforms introduced only after 1809. Colonel Godebski himself did not die on the battlefield at Raszyn, but in an ambulance outside Warsaw due to blood loss. The presence of a military doctor at the moment of his death is also questionable. Moreover, the colonel and his soldiers are depicted in the uniforms of the Warsaw Legion (with yellow facings), rather than those of the Kalisz Legion, as would be expected.

Thus, the opinion expressed by Anna Król—that the work reveals “a fascination with the army of the Duchy of Warsaw, painted with considerable expertise”—does not seem entirely accurate. Far more convincing is an appreciation of the painting’s other qualities: its depiction of camp life, a wagon carrying the wounded, camp followers, and the dramatic portrayal of injured and fallen soldiers. These scenes carry particular expressive power—Suchodolski himself witnessed similar episodes during the November Uprising.

As Z. Majchrowski observed in 1991, “the ranks of troops in battle formation may appear somewhat schematic; nevertheless, the artist’s vision is evocative and conveys a spirit of patriotism.”