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Malarz ziemi. Józef Chełmoński w kręgu europejskich tendencji pejzażu

100%
Rosales Rodriguez A.
Biuletyn Historii Sztuki
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2014
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vol. 76
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issue 4
615-636
EN
The article aims at identifying various references that Józef Chełmoński’s painting made to the widely perceived tradition of 19 th -century European landscape. The analysis does not only include the Polish artist’s direct connections with the group of Munich or Paris painters (both from among the academic circles and unofficial ones), but also the ways the artist drew from the modern aesthetic tendencies, conventions, and visual strategies he became acquainted with when abroad, all of those rooted in the discovery of photography, Realism, Impressionism, Symbolism, or Japonism. The Author also analyses the position J. Chełmoński’s art held in the national discourse of Polish artistic criticism and the myth it implied of a painter of land, attached to native landscape and thence drawing nutritious creative forces, national in content and form, while indifferent to cosmopolitan vogues. This suggestive vision of Chełmoński as a wild instinctive artist, consolidated particularly by Stanisław Witkiewicz, is confronted with the organic concept of Gustave Courbet’s creative process, the searches of the Barbizon School and of its German followers.
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Zeyerův "kjógen" Lásky div

80%
Rozwalka Z.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2019
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vol. 22
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issue 2
169-193
EN
The study deals with a less-known work of Julius Zeyer – a one-act comedy Lásky div [Love's Wonder]. Zeyer was inspired by the description of the performance of Japanese kyogen Ishigami; the source of inspiration, as well as the form of its adaptation, is analysed in detail. The play was staged only after Zeyer's death, in the time of the collectors' fever of Japanese art, especially by various ladies' clubs, and there were only three professional productions. The play has also seen two music adaptations, each of them was nevertheless staged only once. Despite the inadequate response, it was the first drama of its type in the country – a theatre variant of in Europe very popular literary japonaiseries, a genre, which features to this day staged Madama Butterfly.
CS
Studie pojednává o méně známém díle Julia Zeyera – jednoaktové komedii Lásky div. Zeyera pro její napsání inspiroval popis představení japonského kjógenu Išigami a tento inspirační zdroj a forma zacházení s ním jsou zde podrobeny detailnímu zkoumání. Hra byla inscenována až po Zeyerově smrti, v době sběratelské horečky japonského umění především různými dámskými spolky, profesionální inscenace byly pouze tři. Dočkala se i dvou hudebních adaptací, nicméně obě byly nastudovány pouze jednou. I přes malý ohlas bylo toto drama prvním svého druhu u nás – divadelní variantou v Evropě velmi populárních literárních japonérií (AJ. japonaiserie), žánrem, do kterého spadá i dodnes uváděná Madam Butterfly.
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