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"Ipse ipsum" czyli Norwid i autoportrety. Edyta Chlebowska -"Ipse ipsum. O autoportretach Cypriana Norwida"

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Okoń W.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2006
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issue 1(1)
101-103
2
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Wołyń i obrazy.

100%
Okoń W.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2009
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issue 4(14)
48-71
EN
In the article are discussed many views of Volyn – the land situated in the former borderland of Polish Commonwealth (so called Kresy, at present Ukraine) with its historical capital city in Lutsk. The first of these views were executed in 1781 by Jan Henryk Müntz, the following ones by such artists as Kazimierz Wojniakowski, Zygmunt Vogel or later by Napoleon Orda. A particular place in creating Volyn’s iconography takes one of the best renown Polish artists of the 19th century, a writer and a draughtsman Józef Ignacy Kraszewski. He lived there for many years and he often used to describe and draw monuments of this land, creating fictional and artistic Volyn landscapes, settled in the postulated by Kraszewski ‘cordial history’. Its main task was to evoke emotions, not only ‘picturesque’, but also patriotic and national emotions regarding political captivity in those times. Volyn seen from this perspective is the land filled with both bloody and heroic occurrences from the history of the former Polish Commonwealth, a colourful place, propitious for home version of genre art (images of ‘types’ of the local people, their customs and rites) and landscape painting – Polish version of realistic-impressionistic painting (Józef Chełmoński, Stanisław Masłowski, Leon Wyczółkowski and their many followers). History of ‘Volyn in images’, at least for Polish culture, ended with the Soviet army encroaching this area in September 1939, and the very Kresy became then an element of Polish national mythology, which derived literary and historical inspirations from the images of Volyn and the rest of Kresy alike until now.
3
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Niebezpieczne małe prozy (fragmenty)

100%
Okoń W.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2015
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vol. 20
316-329
EN
DANGEROUS SMALL PROSE (EXCERPTS) Words can be beautiful, good, safe, soothing, incidental, true, unspecified, without beginning or end. Sometimes, however, they take the form of predatory and unexpected, dangerous to their speaker or writer, who chose them and intuitively recorded, remembering only their original version and meanings arising from the subtle connections and relationships. In addition to words, there is only darkness, which should light up and from which the poet must return in order not be subjected to unspoken death. Theatre of life and mirrors with their reflections sometimes turn words into blue bullet that strikes suddenly and silently. We have to be carried away like a wave breaking on the crystal shores of our sea. The texts presented in this volume include intuitive ideas born in a short period of time, but their source is located in many years of focus and a poetic meditation. They can not be ultimately read; we can only try to read them as we read or pronounce incantations and ritual records of unknown religion. They reveal, perhaps, their inner meaning – different to each of us, personal – just as different is our imagination. From my collection, I selected the passages which relate to the idea of corresponding arts, which has been accompanying me for many years, both in my research, and in my art.
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Sztuka u Słowian szczególnie w Polsce i Litwie przedchrześcijańskiej Józefa Ignacego Kraszewskiego, czyli o archeologii romantycznej.

100%
Okoń W.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2007
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issue 1(3)
12-26
5
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Czapski – wprowadzenie

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Okoń W.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2013
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issue 2(28)
4-7
EN
In “Introduction” I am indicating the relations between Józef Czapski’s art and the world of ideas and values of Polish Romanticism, and foremost with writings by Cyprian Kamil Norwid who, just like Czapski himself, all his life created “an artist’s diary” of words and images, which was a record of his thoughts and impressions brought by the time he happened to live in. Czapski appears to be an adherent of the idea that art is a medium for reaching the “total reality” which is a form of incorporating primal visions, idealistic in their very matter, by using the rules of painting (already understood in the 20th-century manner) – as incorporation of a mystery present, according to the artist, in the surrounding us nature – that apply autonomously comprehended, purely visual means of painterly expression.
6
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O krakowskim pomniku Adama Mickiewicza raz jeszcze.

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Okoń W.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2006
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issue 1(1)
18-31
7
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Chełmoński i socrealizm

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Okoń W.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
691-701
EN
The Author analyses the image of Józef Chełmoński’s oeuvre as shaped by artistic criticism over the period of Socialist Realism in 1949-56. The leading role in the process can be attributed to ‘Przegląd Artystyczny’, an official magazine of the State Institute of Art and Association of Polish Artists, published in Cracow. However, judging on the grounds of a number publications over the period, Chełmoński was not as strongly promoted by the followers of Socialist Realism as, for example, Jan Matejko, since ‘pure landscape’ which he cultivated, particularly in the latter period, never matched the ideology claiming that paintings should feature a human ‘consciously transforming nature’, this shown in the spirit of ‘critical realism’. The painter of the Indian Summer, though included in the circle of artists close to ‘realism’ in art, was never as highly appreciated as, for instance, Józef Szermentowski or Aleksander Kotsis, which may have resulted from Chełmoński’s excessively strong, as judged at the time, bond with the national and patriotic traditions, while not with the tendencies of supranational ‘social criticism’.
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