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1

CONTORTIONIST, CARICATURE AND THE GROTESQUE BODY

100%
Winter T.
Umění (Art)
|
2007
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vol. 55
|
issue 5
400-408
EN
Contortionist (1931) was one of the earliest oils created by the painter Frantisek Tichy during his five years in Paris. The painter returned to this subject matter in further works that reached their peak in paintings made in 1945. For Tichy, the Parisian period was a time of reassessment of his own style as a painter and the development of a highly individual technique based on Seurat-esque postimpressionism. Past interpreters of Tichy's works have already commented on certain elements of tension and ambivalence in his brushwork, enhanced by a particular treatment of light and building of space. Similar aspects are conveyed in the choice of subjects, including the contortionist. This article draws attention to historical examples of treatments of the contortionist figure and to links with the Devetsil movement, which shared with Tichy a strong fascination with circus. The article likewise shows that Tichy's contortionist figure is indebted to a bizarre drawing of two copulating homosexuals, its subversive quality further emphasised by scatological themes. Since Tichy produced other versions of the contortionist theme that allude to the act of excretion, this figure may be understood as a representative of the grotesque body as defined by Mikhail Mikhailovich Bakhtin. Tichy's work thus corresponds in certain points with the art of Jindrich Styrsky and the Surrealists, who were likewise attracted to scatological themes and also with the work of satirical draughtsmen and caricaturists, with a longer tradition of scatological subjects reaching back to the 16th century. Examples of period reviews demonstrate that Tichy's paintings were rich in associative meanings, akin to the perception of Surrealist works and the Surrealist discovery of concrete irrationality. Tichy's works oscillated between social critique in terms of subject matter, a personally engaged self-stylisation and a certain subversiveness that disrupted the conventional meanings of the individual themes.
2
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THE FACES OF CARICATURE IN THE IMAGINATIVE PORTRAITS OF WLADYSLAW HASIOR

100%
Cembrzynska P.
Biuletyn Historii Sztuki
|
2005
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vol. 67
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issue 3-4
301-324
EN
Wladyslaw Hasior (1928-1999) began creating imaginative portraits in the late 1950s. Almost never images of specific persons, they are representations of certain types of people. Clearly influenced by Witkacy, Hasior's portraits served as a pretext for socio-political comment in contemporaneous Poland, thus proving him to be a caricaturist. The cycle of portraits under consideration reflects the artist's interests in mythology, primitive and folk art, surrealism and popular culture. According to the authoress, Hasior's portrait-assemblages relate to the idea of 'doublevision', and she draws parallels with Arcimboldo as well as Pablo Picasso, although by making use of a mechanism known in psychology as projection, she also treats Hasior as a successor of Alberti and da Vinci. The full meaning contained in imaginative portraits is also sought in psychological mechanisms behind the rise of caricature, thus leading to interpretations based on Freud and Ernst Kris's further elucidations of dream sequence and such like, although the portraits are also recognised as 'visual jokes' based on wordplay carried over to the actual (twisted) image created: the humorous titles applied betray the artist's fascination for the pictorial possibilities contained in language. In conclusion, Hasior's laugh is not entirely the jeering of a satirist, but above all a reflection of the times in which he lived and the mass culture they gave rise to
3

Poláčkowskie ciało — karykatura i empatia

100%
Gawarecka A.
Slavica Wratislaviensia
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2011
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vol. 153
749-759
EN
Karel Poláček, one of the most important novelists of the Czech literature of the twenties and thirties was not considered as the writer who used somatic topics in a modern way. He was rather interested in presenting the impossibility of interpersonal communication, caused by the degeneration of language, its stereotypisation and destruction of authentic relationships between people. In Poláček’s semiotic project every human behaviour, part of the body or piece of clothing acquires its special meaning and helps the reader to recognize heroe’s character, to situate him in social structures and to evaluate his acts and words. The body (especially invalid or abnomal) is in this case the only reliable sign of personal subjectivity.
4
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GERMAN THEMES IN THE CARICATURES OF POLISH SATIRICAL JOURNALS OF THE SECOND REPUBLIC OF POLAND (A STATISTICAL ANALYSIS) (Problematyka niemiecka w karykaturach polskich czasopism satyrycznych Drugiej Rzeczypospolitej (analiza statystyczna))

88%
Bergmann O.
Przegląd Zachodni
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2011
|
issue 2(339)
181-200
EN
The article deals with the presence of a broadly understood German theme in Polish iconographic satire in the years 1918-1939. The topic is discussed not according to the criterion of pictorial content but in a statistical quantitative perspective comparing the interest of caricaturists in other prominent issues and persons of those times that could be considered as personified 'heroes' of the caricatural messages. The German theme recurred in all the analyzed satirical journals regardless of the period of their publication and the political sympathies of their editors and satirists. For nearly the whole of the two interwar decades the leading journal was the Warsaw 'Mucha', at the beginning of the analyzed period it was the Lwów 'Szczutek', in the years 1926-1934 the most popular journal was 'Cyrulik Warszawski', in the years 1930-1939 the Kraków 'Wróble na dachu' and in the second half on the 1930s the Warsaw 'Szpilki' and the Wielkopolska 'Pokrzywy'. In the last pre-war years interest in broadly understood German issues dominated over Polish foreign policy and international issues in the coverage of iconographic satire.
5

ANALÝZA POLITICKEJ A SOCIÁLNEJ KARIKATÚRY V ČASOPISOCH RARÁŠEK A JEŽIBABA V OBDOBÍ ROKOV 1870 – 1872

88%
Krátky M.
|
2020
|
vol. 68
|
issue 2
249 – 269
EN
Nineteenth century Slovak caricatures come from a wide range of political positions. The magazines Ježibaba supporting the Slovak New School and Rarášek belonging to the Slovak National Party were the most important representatives of political and social humour in the years 1870–1872. They had different approaches to drawing caricatures and their thematic starting points, by which both participated in shaping the political thought of the period. The intense aggressiveness of the drawings in Ježibaba may be seen as a demonstration of the political effort of the New School to establish a new political orientation. On the other hand, the artistically more conservative Rarášek opened social themes and brought systematic effort to the work of political journalism.
6

MYTH OF BOHEMIANISM IN NINETEENTH-CENTURY WARSAW

75%
Murawska-Muthesius K.
ARS
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2012
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vol. 45
|
issue 2
183 – 201
EN
The text looks at the origins of the modern art world in the mid-nineteenth-century Warsaw which remained in the grip of persecution by the Tsarist apparatus. It compares the two artistic communities, which were dubbed as bohemian by their later critics: the coterie of radical poets of the early 1840s and the group of visual artists active during the 1850s. The first was identified through its eccentric behaviour and dress, as well as its provocative actions in the streets of Warsaw. The second group was constructing their collective identity by means of informal sketches, preserved in seven albums by their patron Marcin Olszyński. Examining the collection of drawings, caricatures and photographs, the text argues that those informal sketches provide a unique insight into the ways in which the artists sought to establish their new professional identity, stressing their distinctiveness from other social groups, at the time of the major socio-cultural transition from noble to bourgeois patronage, and during the formation period of Warsaw’s urban intelligentsia.
7

THE HISTORY OF POLITICAL CARICATURE IN THE LATE 19TH AND EARLY 20TH CENTURY: AN INSIGHT (Ieskats politiskas karikaturas vesture. 19. gs. beigas - 20. gs. sakums)

63%
Gailite G.
Materiali Latvijas makslas vesturei
|
2006
|
vol. 5
64-76
EN
The discussed period is typified by the high point of caricature as the most topical genre of art because very different artists participated in decisive historical events of that time. The article gives an outline of the major themes, differing individual styles of artists, their means of expression, etc. The term 'caricature' is derived from Italian word caricare, meaning 'to heap', 'to exaggerate'. Its task is to unmask contradictions of social phenomena, relationships, human conduct and character in a peculiar manner. Caricature exaggerates and distorts external features, revealing the inner truth. The article deals with particular examples from periodicals because their quantity and quality significantly increased on the threshold of the 20th century. Thanks to the development of printing industry and spread of liberal ideas, political and satirical publications helped to change the public opinion. As periodicals reached wide audience and had deep influence, critical and satirical imagery served as a potent means of visual propaganda. Besides Latvian caricaturists, German and Russian artists are stressed as well because they had the most influence upon the local authors' formal and thematic choices. The most significant source was the German periodical 'Simplicissimus' - a promoter of democratic opinions and worldwide leader of political satire during the early years of publication (1896-1908/09). In 1897 it was printed in 15 000 copies but by 1904 - in 85 000. The major artists to be mentioned are Thomas Theodor Heine, Rudolf Wilke, Bruno Paul, Ferdinand von Reznicek, Erich Schilling and Olaf Gullbransson. By World War I 'Simplicissimus' held the oppositional stance but then gradually transformed into a conformist, nationalist and chauvinist voice of the official power. Russian government prohibited the import of 'Simplicissimus', still artists had access to it and influences are easy to detect.
8

OBRAZ NEPRIATEĽA V POČIATKOCH SLOVENSKEJ POLITICKEJ KARIKATÚRY. VIZUÁLNE STEREOTYPY V ČASOPISE ČERNOKŇAŽNÍK V ROKOCH 1861 –1910

63%
Krekovičová E., Panczová Z.
Slovenský národopis (Slovak Ethnology)
|
2013
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vol. 61
|
issue 1
31 – 54
EN
The goal of this work is to follow both the persistence and the concrete transformation of ethnic and ethic-related stereotypes and their public representations in the processes of the Slovak nationalism in the multinational Hungarian Kingdom in the second half of the 19th century and the first decade of the 20th century. In our article we focused on the visual form of depicting representatives of collective (especially ethnic) identities. We worked on the assumption, that this visual form occupies a specific position in the process of spreading stereotypes and fixing them over time. Especially rewarding objects of investigation for such research are caricatures. As the source material we chose political caricatures published in the popular Slovak humour magazine of this period, Černokňažník [The Wizard]. Through this caricatures we study images of „enemies“(especially in role of „traitor“ or „alien“) in the eyes of Slovak national patriots. In this sense we pay special attention to the figure of the Jew and „maďarón“ - Slovak term for someone who was (sometimes only supposedly) not „native“ Hungarian, but who was defending Hungarian political interests directed against Slovak national emancipation.
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