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Metafizyczne istoty bez form działania: o Auguście Zamoyskim, jego ojcu i o dziwnej przyjaźni z Witkacym

100%

Chrudzimska-Uhera K.

Biuletyn Historii Sztuki

2012

vol. 74

issue 3-4

685-706

The activity of the sculptor August Zamoyski (1893-1970) in Poland was related to the Expressionist manifestations: of the Poznan Bunt Group and Cracow-Zakopane Formists. Zamoyski returned from Germany in 1918 with his wife, the dancer Rita Sacchetto, and came to live in Zakopane. That very year he took part in the Bunt exhibition in Poznan. The event brought about a scandal August Zamoyski was the main inspirer and protagonist of. The hosts of the Poznan Society of Friends of Fine Arts (TPSP) demanded for five works to be removed from the display for moral reasons (among them four authored by Zamoyski).The incident was used in a propaganda way by Jerzy Hulewicz who turned Zamoyski into an uncompromising rebel, opposing the family, social norms, and valid conventions. This motif was later eagerly exposed in his biography by the sculptor himself. However, the myth of Zamoyski, a rebel, has to be verified in view of the facts provided thanks to archival records supplied by the sculptor’s widow Hélène Peltier-Zamoyska and brought to Poland in 2007 by Aleksander Wat, as well as on the grounds of the information found in the correspondence retrieved from Jabłoń in 2006. They all show that Zamoyski never definitely severed with his family who supported him financially and provided with assistance when he was settling down in Poland.

Awangarda: historia współczesna

67%

Szczerski A.

Biuletyn Historii Sztuki

2024

vol. 86

issue 3

19-32

The avant-garde is one of the best researched phenomena in Polish art history. This research results in an ongoing verification of the hitherto dominant theses, formulated at the beginning of the 1970s, concerning the scope of the concept of the avant-garde, the link between the radicalism of its artistic experimentation and the slogans of social revolution, or the avant-garde’s one-sided political entanglements. The conceptual scope is broadened to include the participation of avant-garde artists in pro-state activities in the Second Republic of Poland and their interest in the issues of memory and history, as well as in the utopias of the regeneration and causality of art. These new approaches are exemplified by the multifaceted celebrations of the “Year of the Avant-garde” (2017). Consequently, the avant-garde has become not a contestation, but an essential part of the Polish cultural code, and its history is inscribed in the contemporary debate on the models of modernity developed by Polish culture in the 20th century.

Awangarda należy do najlepiej zbadanych zjawisk w polskiej historii sztuki. Efektem badań jest dokonująca się współcześnie weryfikacja dominujących dotąd, a sformułowanych na początku lat 70. XX w. tez o zakresie pojęcia awangarda, powiązaniu radykalizmu jej artystycznego eksperymentu z hasłami społecznej rewolucji czy jednostronnych uwikłaniach politycznych. Zakres pojęciowy jest poszerzany, aby uwzględnić także udział artystów awangardowych w działaniach propaństwowych w II Rzeczypospolitej Polskiej, ich zainteresowania kwestiami pamięci i historii, jak również utopiami regeneracji i sprawczości sztuki, czego przykładem mogą być wielowątkowe obchody Roku Awangardy (2017). W konsekwencji awangarda staje się nie kontestacją, ale istotną częścią polskiego kodu kulturowego, a jej historia wpisywana jest we współczesną debatę na temat modeli nowoczesności, jakie wypracowała kultura polska w XX w.

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2 Biuletyn Historii Sztuki

1 Chrudzimska-Uhera K.

1 Szczerski A.

1 2024

1 2012

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Metafizyczne istoty bez form działania: o Auguście Zamoyskim, jego ojcu i o dziwnej przyjaźni z Witkacym

Awangarda: historia współczesna