Landscape Painting and the Construction of “Icelandicness”: Icelandic Modern National Art vis-à-vis its Danish Origins

• Authors: Emiliana Konopka

Title variants

PL

Malarstwo pejzażowe i konstruowanie „islandzkości”. Nowoczesna sztuka narodowa Islandii wobec swych duńskich źródeł

Abstracts

PL

Artykuł jest próbą wypracowania nowego podejścia do islandzkiej sztuki narodowej, popartego analizą jej roli w konstruowaniu „islandzkości” i islandzkiej tożsamości. Pozostając w ciągłym dialogu z rozprawą Ann-Sofie Nielsen Gremaud Kryptokoloniale landskaber: tid, sted og rum i billeder af islandsk landskab 1874–2011 (2012), tekst koncentruje się jednocześnie na islandzkim malarstwie pejzażowym z lat 1874–1944 i jego relacji ze sztuką duńską. Sztuka nordycka, a zwłaszcza islandzka, zazwyczaj pomijana w europejskiej narracji historyczno-artystycznej, warta jest jednak bliższego poznania. W pracy przyjęto podstawowe założenie, że nowoczesna islandzka sztuka narodowa wywodzi się z duńskiej tradycji akademickiej, a islandzcy artyści uczestniczyli w tworzeniu tożsamości narodowej pozostając w opozycji wobec modelu duńskiego. Aby znaleźć poparcie dla postawionej tezy, wykorzystano metodologie bliskie postkolonializmowi i kryptokolonializmowi, jak również inspirowane imagologią i oparte na interdyscyplinarnych badaniach z zakresu historii sztuki, historii, antropologii i kulturoznawstwa.

EN

The article constitutes an attempt at developing a new approach to Icelandic national art, supported by an analysis of its role in the process of constructing “Icelandicness” and the Icelandic identity. It enters a dialogue with the study Kryptokoloniale landskaber: tid, sted og rum i billeder af islandsk landskab 1874–2011 by Ann-Sofie Nielsen Gremaud, with a concurrent focus on Icelandic landscape painting of the period 1874–1944 and its relation to Danish art. The Nordic, and especially the Icelandic art was routinely overlooked in the European artistic and historical narration, including the Polish scholarly environment, but it is well worthy of a closer scrutiny. Two fundamental assumptions that define the analysis presented herein are that the modern national art of Iceland derives from the Academic tradition in Denmark and that, concurrently, Icelandic artists participated in the process of developing national identity in opposition to the Danish model. In order to find confirmation for the posed theses, methodologies close to post-colonialism and crypto-colonialism have been used, as well as ones inspired by imagology and based on interdisciplinary research in the fields of art history, history, anthropology and cultural studies.

Keywords

PL

sztuka islandzka; sztuka duńska; tożsamość narodowa; malarstwo pejzażowe; sztuka narodowa; postkolonializm; kryptokolonializm

EN

Icelandic art; Danish art; national identity; landscape painting; national art; post-colonialism; crypto-colonialism

• Publisher: Polska Akademia Nauk. Instytut Sztuki PAN
• Journal: Biuletyn Historii Sztuki
• Year: 2023
• Volume: 85
• Issue: 1
• Pages: 95-116

Dates

published

2023

Contributors

author

Emiliana Konopka

• Szkoła Doktorska Nauk Humanistycznych i Społecznych, Uniwersytet Gdański

• https://orcid.org/0000000245272689

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Identifiers

DOI

10.36744/bhs.1112

Biblioteka Nauki

15582179