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Czy Czapski był dobrym kolorystą? Malarstwo Józefa Czapskiego wobec doktryny estetycznej K. P.

100%

Gryglewicz T.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

2013

issue 2(28)

17-23

In studies on Józef Czapski’s artistic work predominate discussions and analyses of his writings and of his social and political activity. As long as visual arts are concerned his critical oeuvre is much appreciated, a book on Pankiewicz and other remarks on art gathered in the volumes Oko [An Eye] and Patrząc [Looking]. Also his sketches are praised. Whereas his painting is not much described, as a negative though unjust opinion was shared with some of his fellow-artists Kapists who used to claim that Czapski lacked talent. In the following paper I have focused on formal, stylistic and aesthetic aspects of Czapski’s painting. Therefore, I act somehow against the main stream of studies on his artistic legacy. The Kapists came up with a very coherent painting doctrine, they stuck to it and made it a syllabus of artistic education in Poland after the WW2. One of the main theses of Polish Colourism was a belief that the value of an art piece is decided by its form and not contents, described disdainfully by the Kapists as “literature”. So did Czapski, in his writings he was rigid and uncompromising in tracing down weak points in form and colour in the then contemporary works of art, remaining unmoved in view of their pathetic symbols, he was for independence of art from the reality. When analysing Czapski’s paintings it is difficult not to notice that they differ significantly from ideal for the tendency works, especially those by Jan Cybis or Hanna Rudzka-Cybisowa (the other Kapists also stood aside this norm, everyone in his own way). Only his early works meet the assumptions of the Kapist movement. In the later period, mainly after the WW2, during his emigration in Paris, he stopped being truthful to the rule of the picture’s autonomy, which was followed by the Kapists, and he moved rather towards subjects and art based upon observation of the surroundings, art which included some elements of magnified expression. Georges Rouault, Chaïm Soutine, Max Beckmann, as well as figurative works by Nicolas de Staël are listed, among others, as the sources of his inspiration. Some researchers trace analogies even between his works and Neo-Exspressionist “wild” new figuration in Germany in Czapski’s late period. However, in my opinion, Czapski was never entirely an Expressionist, remaining truthful to the traditions of École de Paris, in the first place being under a strong influence of Post-Impressionism of Pierre Bonnard, other Kapists alike. Czapski was therefore an artist focused on purely painterly values; he remained a colourist painter, by following his own individual version of Colourism, he treated it in a non-orthodox way.

Twórczość Józefa Czapskiego w świetle polskiej krytyki artystycznej z lat 1930–1939

41%

Konstantynów D.

Biuletyn Historii Sztuki

2024

vol. 86

issue 4

129-174

Almost all of Józef Czapski’s pre-war painting output was lost during the Second World War. His work from that time can be judged only on the basis of no more than a dozen or so preserved canvases. The absence of original works can be to a certain extent compensated for by their reflection in the words of those who saw them. An extremely important source of knowledge about Czapski’s pre-war achievements are therefore the statements of reviewers commenting on exhibitions in Poland at which, from 1930 onwards, he presented his works. They make it possible to partially reconstruct Czapski’s oeuvre from the years 1930–1939, trace the transformations it was undergoing, and examine its reception in art criticism of the period. This article analyses almost all press commentaries relating to the exhibition with Czapski’s participation (so far minimally used by researchers of his work), confronting them, as far as possible, with other source texts, including statements by the artist himself and by the members of his circle.

Niemal cały przedwojenny dorobek malarski Józefa Czapskiego przepadł w czasie II wojny światowej. O jego twórczości z tego czasu możemy sądzić na podstawie zaledwie kilkunastu zachowanych płócien. Brak oryginalnych dzieł może w pewnym stopniu zrekompensować ich odbicie utrwalone w słowach tych, którzy je widzieli, niezwykle ważnym źródłem wiedzy o przedwojennych dokonaniach artysty są więc wypowiedzi recenzentów komentujących wystawy w Polsce, na których malarz prezentował swoje prace od 1930 r. Dzięki nim możemy przeprowadzić częściową rekonstrukcję twórczości Czapskiego z lat 1930–1939, prześledzić zachodzące w niej przemiany, a także przyjrzeć się jej ówczesnej recepcji w krytyce. W artykule przeanalizowano niemal wszystkie komentarze prasowe odnoszące się do ekspozycji z udziałem Czapskiego (dotychczas w minimalnym stopniu wykorzystane przez badaczy jego twórczości), konfrontując je w miarę możliwości z innymi tekstami źródłowymi (m.in. wypowiedziami samego artysty i ludzi z jego kręgu).

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1 Biuletyn Historii Sztuki

1 Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

1 Gryglewicz T.

1 Konstantynów D.

1 2024

1 2013

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Czy Czapski był dobrym kolorystą? Malarstwo Józefa Czapskiego wobec doktryny estetycznej K. P.

Twórczość Józefa Czapskiego w świetle polskiej krytyki artystycznej z lat 1930–1939