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Czapskiego czytanie André Malraux.

100%
Jarosz A.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2013
|
issue 2(28)
88-103
EN
Józef Czapski’s readings the texts by André Malraux (1901–1977) on aesthetics and art history are among the most important ones. It ef- fected from his physical presence in the Polish artist’s biography. “Reading” Malraux’s works has a very personal explanation. They were both of the same generation – a Polish artist and soldier, and a French writer and politician met in crucial periods of the most modern his- tory of Europe. These personal contacts allowed Czapski to comprehend better Malraux’s views, especially his aesthetic polytheism and a concept of “museum of imagination”. The first meeting of Czapski with Malraux took place in Paris in 1924. Later on, after the war had finished, and Czapski had been sent to Paris by General Władysław Anders, he made a report to Malraux on his knowledge of Soviet Russia. When in 1946 the painter settled down in France, Malraux made big efforts to publish Na nieludzkiej ziemi [The Inhuman Land] in France. He also supported the cause of the endangered seat of Parisian “Kultura” [Culture] monthly in Maisons-Laffitte by writing an open letter concerning the matter in 1954. Their direct contacts were also related with artistic life. In 1952 Malraux visited Czapski’s painting exhibition, and in 1958 he conducted an interview with the artist. Czapski in turn used to read carefully Malraux’s books, paying attention to both literary and cognitive values in the area of thought on arts, noticing at the same time that the latter was adding fiction to reality. Malraux’s quasi-methodological vision of art, his style, as well as cultural and political activity, provoked Czapski in 1952 to write an essay Głosy milczenia [The Voices of Silence] – a sort of polemics with Malraux’s book Les Voix du silence. Just like many other readers Czapski noticed a typical for the Frenchman combination of a novel-like form with an essay or an impression on art and a total departure from an academic discourse. He also noted down the most important issues: Malraux’s contradiction between “the world of quest” and “the world of affirmation” and perceiving an artist as conscious of his starting point, method, will and direction of acting – the force which enables to win historical determinism. Czapski was able to estimate the social aspect of Malraux’s works in the time of the unfinished political and epistemological disputes. The biggest value in the vast considerations of the French writer was, according to the Polish painter, his intui- tive search for truth and its revelations in painting. Czapski however, treated in a rather ambiguous way Malraux’s position as “a demiurge” who decides valuation and applies reproduction – being a forerunner of digital iconography and virtual museum spaces. Malraux with his concepts keeps coming back till presence – in a performance and a film by Dennis Adams (2012), among others.
2

Potęga fikcji

80%
Malraux A.
Res Publica Nowa
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2013
|
issue 1
45-46
EN
In his speech at the opening of Cultural Centre in Borges, André Malraux put popular culture – embodied by television and cinema – in opposition to Culture, which helps people cope with the vision of inevitable death. Culture is here the works of art that, although created in the past, have survived and to which we can still relate. Because of the huge cultural difference that took place together with the mechanisation of the society it is important to let people have access to Culture – and that should become the mission of the new, open France.
3

Śmiertelne odbicie i wieczna sztuka

80%
Darmas M.
Res Publica Nowa
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2013
|
issue 1
43-44
EN
Apart from being a politician, André Malraux was also a cultural thinker, which greatly influenced his actions as the first Minister of Cultural Affairs in France. By setting up the institution of cultural centres, he put into practice the idea of democratisation of the arts. Believing in the French cultural messianism and that art can be the meeting place of different social classes, he successfully decentralised and democratised art in France, making it accessible to broader audiences.
4

André Malraux’s Comparative Theory of Art

61%
Gaižutytė-Filipavičienė Ž.
Dialogue and Universalism
|
2020
|
issue 3
263-280
EN
The article deals with André Malraux’s (1901–1976) comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art.
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