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Wokół wystawy „Chełmoński, Chmielowski, Witkiewicz. Pracownia w Hotelu Europejskim w Warszawie 1874-1883”. Odpowiedź na recenzję pani Magdaleny Jarzewicz

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Gołąb M.

Biuletyn Historii Sztuki

2011

vol. 73

issue 3-4

533-536

Transgresje wczesnej twórczości Józefa Chełmońskiego. O przedstawieniach kobiet w obrazach z Pracowni w Hotelu Europejskim w Warszawie

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Gołąb M.

Biuletyn Historii Sztuki

2014

vol. 76

issue 4

583-596

Five or six large-sized paintings by Józef Chełmoński dedicated to the woman and painted at the Europejski Hotel’s Studio in Warsaw in 1875, of which only the Indian Summer is generally known, are the most important artistic manifesto in Polish art of the time. The Romantic paradigm of Polish culture alongside the pressure of Positivist modernity, the experience of Naturalism and Realism, as well as the attractiveness of the allegorical language of art (grounded in the adoration for Grottger, typical of that generation), all these mark the major ideological and painterly horizons of Chełmoński’s art of the period. The artistic effects of the cycle in question (the latter partly reconstructed due to three paintings having disappeared) define the transgressive character of the oeuvre of the Warsaw artist owing to the ‘borderline’ painterly language, bordering on both allegory and symbolism. It allowed to create a radically different statement on the woman versus the contemporarily valid emancipation discourse by evoking in all the paintings of the cycle a figure of a day-dreaming woman

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2 Biuletyn Historii Sztuki

2 Gołąb M.

1 2014

1 2011

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Wokół wystawy „Chełmoński, Chmielowski, Witkiewicz. Pracownia w Hotelu Europejskim w Warszawie 1874-1883”. Odpowiedź na recenzję pani Magdaleny Jarzewicz

Transgresje wczesnej twórczości Józefa Chełmońskiego. O przedstawieniach kobiet w obrazach z Pracowni w Hotelu Europejskim w Warszawie