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Jej Miriam. Wilhelminy Zyndram-Kościałkowskiej refleksja nad koncepcją sztuki i kultury Zenona Przesmyckiego

100%
Osiński D. M.
Przegląd Humanistyczny
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2017
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vol. 61(4 (459))
125-138
PL
The article attempts to present the stages of Wilhelmina Zyndram-Kościałkowska’s approach to reflection on Miriam’s understanding of aesthetic and artistic principles. A critical diagnosis related to the understanding of art and culture by Zenon Przesmycki is possible due to observation of Kościałkowska’s holistic reflection on the concept of culture and modernist literature (including the essence of translation, the meaning of modernist art, drama specificity and the concept of “art for art”) contained in manuscript intimist collections. The analysis includes diaries, notes, “extracts” from life and people, calendars kept throughout the life of the Grodno writer deposited in the Lithuanian State Historical Archives in Vilnius. The method of examination and the nature of the approach are defined by the author of the article as a coffin portrait.
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Zenon Przesmycki wśród młodopolskich „wskrzesicieli” Norwida

100%
Rzońca W.
Przegląd Humanistyczny
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2017
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vol. 61(4 (459))
79-91
PL
The author argues that a role of Zenon Przesmycki in the process of bringing back Cyprian Norwid to the Polish literary life is slightly overestimated. At the turn of the 19th and the 20th centuries on the Polish lands, the reception of French symbolism took place, which determined the perception of the author of Vade-mecum working in Paris (since 1849) as a great precursor of intellectual “visual poetry”. However, by making Norwid a strictly Romantic poet, the generation of the Young Poland artists effectively distanced themselves from artistic borrowings associated with Baudelaire, Verlaine, etc., thus obtaining the effect of the “nativeness” of modern Polish poetry at that time.
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Z Norwidowskiego Archiwum Zenona Przesmyckiego (4). Opisy prac plastycznych Norwida z Muzeum Narodowego Polskiego w Rapperswilu

89%
Chlebowska E.
Studia Norwidiana
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2013
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vol. 31
141-169
EN
The article publishes two documents (typescripts) from Zenon Przesmycki’s Norwidian archive kept in the National Library, that contain descriptions of Norwid’s artistic works, including oil paintings, watercolors and sketches, coming from the collection of the Polish National Museum in Rapperswil. The first of these documents includes a list of more than 30 artistic works by Norwid borrowed by Przesmycki from the Rapperswil museum before 1920. The other one contains descriptions of 46 drawings and watercolors. When the collections belonging to that extremely important institution that rendered great service to Poland were brought to our country, they were transferred to the State Collection of Art. The documents make it to a large degree possible to reconstruct the contents of the Rapperswil collection of Norwid’s artistic works, which were dispersed during the Second World War, and most of them are now considered to be lost. In public (the National Museum in Warsaw, the A. Mickiewicz Museum of Literature in Warsaw) and private collections more than a dozen items out of nearly eighty ones described by Przesmycki, that came from the Polish museum in Rapperswil, have survived. The edition of Przesmycki’s texts is preceded by introductory remarks containing a description of the collection of Norwid’s artistic works from Rapperswil and an attempt to follow their vicissitudes after the Polish National Museum collection was brought to Warsaw.
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'Wygórowany idealizm' czy 'handel księgarski'? Dwugłos korespondencyjny Zofii Trzeszczkowskiej i Stanisława Marka Rzętkowskiego o publikacji przekładu "Luzjad"

89%
Błasińska (Kasica) A.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2015
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issue 21: Sztuka tracenia, sztuka rezygnacji. Samoograniczenie i autocenzura
277-283
EN
The article presents the dialogue between Zofia Trzeszczkowska (who wrote under a pseudonym of Adam M-ski) and Stanisław Marek Rzętkowski, the literary director of Warsaw’s magazine “Życie” ["Life" ]. The letters discuss Trzeszczkowska’s translation of "Luzjady" ["The Lusiads"], a Portuguese epic poem by Luís Vaz de Camões. It was commissioned by Zenon Przesmyckimin 1887 and was to be published in "Życie"’s literary supplement. However, when Rzętkowski had taken over as editor, the commissioned translation was notaccepted. The letters present Rzętkowski’s negative stand on the translated work (the letter dated on 3 August 1889) and the translator’s reaction to the rejection of her work (dateless letter). This full of emotions correspondence presents the atmosphere between the members of "Życie" ’s editorial board and also gives a wider view of the situation when Przesmycki resigned from his position and Rzętkowski took over. The manuscripts of the letters are collected in the National Library, the catalogue number assigned: 2864 (k. 89-94). They are a part of Zenon Przesmycki’s correspondence.
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"Magdalena" Josefa Svatopluka Machara w tłumaczeniu ZofiiTrzeszczkowskiej. 'Bratnia kontrola' Zenona Przesmyckiego – świadectwo problemów przekładu zachowane w korespondencji

71%
Błasińska A.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2016
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vol. 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie
216-219
EN
The paper presents the circumstances of translating "Magdalena" by Jozef Svatopluk Machara done by Zofia Trzeszczkowska (Adam M-ski). The translator had prepared a list of questions which she sent to an 'Old Czech' – Zenon Przesmycki for consultation as she faced difficulties in rendering the verses into Polish. The material is a source of information of poet’s language capacity, and it also documents hints given by Miriam himself (drafted just above the translator’s questions), and thereby his influence on the final version of "Magdalena" in the Polish language.
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Z kolekcji Konstancji Górskiej

71%
Chlebowska E.
Studia Norwidiana
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2023
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vol. 41
139-155
EN
This article discusses three drawings by Cyprian Norwid: Amerykański marynarz [The American Sailor] (1854), Młoda mniszka ze skrzydłami u ramion [The Young Nun with wings on her Shoulders] (1850) and Rusałki [Rusalki] (1852), sold on 11 May 2022 at an auction organised by the British auction house Toovey’s Antique & Fine Art Auctioneers & Valuers. The drawings come from a substantial collection of Norwid’s works amassed by the poet’s close friend Konstancja Górska, which included letters, manuscripts of poems, and over 80 artworks (drawings, watercolours and prints), which has been considered lost since World War II. Górska’s collection is well known in the literature: all the texts were published between the wars, and the artworks were catalogued in detail and partially photographed by Zenon Przesmycki in 1914. The documentation of the drawings was published in “Studia Norwidana” in 2011. The discovery of several objects from the lost collection raises hopes for further discoveries of Norwid’s legacy.
PL
Artykuł zawiera omówienie trzech rysunków Cypriana Norwida: Amerykański marynarz (1854), Młoda mniszka ze skrzydłami u ramion (1850) oraz Rusałki (1852), sprzedanych 11 maja 2022 roku na aukcji zorganizowanej przez brytyjski dom aukcyjny „Toovey’s Antique & Fine Art Auctioneers & Valuers”. Rysunki pochodzą z pokaźnej kolekcji dzieł Norwida zgromadzonych przez bliską znajomą poety Konstancję Górską, obejmującej listy, rękopisy wierszy, ponad 80 prac plastycznych (rysunki, akwarele i grafiki), która od czasów II wojny światowej uznawana jest za zaginioną. Kolekcja Górskiej jest w literaturze przedmiotu doskonale znana: wszystkie teksty były publikowane w okresie międzywojennym, a prace plastyczne zostały szczegółowo skatalogowane oraz częściowo sfotografowane przez Zenona Przesmyckiego w 1914 roku Dokumentacja dotycząca rysunków została opublikowana na łamach „Studia Norwidana” w 2011 roku Odnalezienie kilku obiektów z zaginionej kolekcji budzi nadzieję na kolejne odkrycia spuścizny Norwida.
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Bolesław Leśmian i Zenon Przesmycki „Miriam” – w kręgu artystycznych spotkań: Kijów i Paryż

71%
Ratuszna H.
Język - Szkoła - Religia
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2022
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vol. 17
93-105
EN
The article presents comments on the role of two cities in the life and work of Bolesław Leśmian. An important point of reference are the poet’s letters to Zenon Przesmycki. Their analysis allows us to understand how the atmosphere of the city, space and cultural activities influenced the life and artistic choices of the author of Sad Rozstajny. Kyiv – with its specificity and history, was a kind of locus coeruleus for Leśmian. The poet could not accept the atmosphere of stagnation, so he looked for alternatives, he wanted changes. Contrary to appearances, the city played an important, creative role. Colorful Ukraine and spirituality found an interesting reference in e.g. in poetry cycles (Distants, Angels). A different role was played by Paris, which dazzled the poet with its modernity, movement, bustle and mystery. Leśmian, who published most of his volumes of poetry in the interwar period, was a symbolist as perfect as the French poets (e.g. Stefan Mallarmé, Oskar Miłosz).
PL
Artykuł prezentuje uwagi na temat roli dwóch miast w życiu i twórczości Bolesława Leśmiana. Istotnym punktem odniesienia są listy poety, pisane do Zenona Przesmyckiego. Ich analiza pozwala zrozumieć, jak atmosfera miasta, przestrzeń, kulturowa działalność wpłynęły na życiowe i artystyczne wybory autora Sadu rozstajnego. Kijów – ze swoją specyfiką, historią – był dla Leśmiana swoistym locus coeruleus. Poeta nie mógł zaakceptować atmosfery stagnacji, szukał więc alternatyw, pragnął zmian. Wbrew pozorom miasto to odegrało jednak istotną twórczą rolę. Barwna Ukraina, duchowość znalazły interesujące odniesienie m.in. w cyklach poezji (Oddaleńcy, Aniołowie). Inną rolę odegrał Paryż, który olśnił poetę nowoczesnością, ruchem, gwarem, tajemnicą. Leśmian, który większość tomów poetyckich opublikował w dwudziestoleciu międzywojennym, był symbolistą równie doskonałym jak francuscy poeci (np. Stefan Mallarmé, Oskar Miłosz).
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Poetyckie powroty zza grobu

63%
Kącka E., Książyk Ł.
Przegląd Humanistyczny
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2017
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vol. 61(4 (459))
7-8
PL
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Z Norwidowego Archiwum Zenona Przesmyckiego (2): Opisy rysunków z albumu Konstancji Górskiej

51%
Chlebowska E.
Studia Norwidiana
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2011
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vol. 29
157-187
PL
The article gives a catalogue list of the missing collection of Norwid's artistic works that once belonged to Konstancja Górska; the list was compiled by Zenon Przesmycki in 1914. The collection numbered nearly 80 sketches and drawings. It was the greatest collection of the known collections of artistic Norwidiana built up by a person belonging to the poet's closest circle of friends. Przesmycki's list comprises detailed descriptions of drawings made by the author of Solo in Konstancja Górska's private album (69 drawings) and descriptions of 11 loose works accompanying the album. Górska's collection was characterized by the fact that it included items dealing with a great variety of subjects. There were religious, legendary-literary, fantastic-symbolic and genre compositions in it. Portraits were a particularly numerous group; the group included, among others, portraits of Adam Mickiewicz, Prince Adam Jerzy Czartoryski, Maria Kalergis, Zygmunt Krasiński, Henryk Kamieński, Józef Bohdan Zaleski, and also the portrait of the owner of the album, as well as two self-portraits. The editorial elaboration of Przesmycki's text has been preceded by introductory remarks containing a description of the collection and specifying the circumstances of its gathering.
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