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SAINT FRANCIS BY JACEK MALCZEWSKI AND THE DIONYSIAN IDEA ( Sw. Franciszek Jacka Malczewskiego i idea dionizyjskosci)

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Haake M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2010
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vol. 3
58-79
EN
The study attempts to address the widespread idea about syncretism of Jacek Malczewski's art, combining the ancient cult of Dionysus and the Christian teachings on salvation. The analysis of Saint Francis, one of his numerous paintings with faun figures, tries to prove that the relationship between the titular character and the mythological figures is not a juxtaposition of similar attitudes towards the world of nature. The depicted situation is rather the case of the mythological creatures becoming subject to the 'intransgressible' which for every picture is its surface and its boundaries. This subjection is shown through the formal shaping of the figures. This relation, which can be understood only through direct contact with the work, is an expression through the means of painting of the artist's profound Christian faith, shared also by his other contemporaries who struggled with the modernist 'disenchantment' (in Max Weber's sense of the word) and proving through their work their trust in Christian transcendence (e.g. Jan Kasprowicz).
2

THE MEANING OF EXISTENCE AND ART IN THE PAINTING 'PIETA' BY TADEUSZ BORUTA (Sens egzystencji i sztuki w swietle obrazu Pieta Tadeusza Boruty)

100%
Haake M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2011
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vol. 4
80-94
EN
The article deals with the methodology of art history; based on the interpretation of Pieta by Tadeusz Boruta, it argues the need to analyze how pictorial representation (motifs, forms, colour, texture) is related to the plane of the painting. The multi-layered meaning of Boruta's work emerges from the fact the painting brings to light the inscription of motionless figures in the structure of temporality, where 'before', 'after', and the immediate 'now' of the seeing process are distinguished. This structure sends a message about the essence and mission of the human life of Christ, and the incarnation of God, which is directed at every human being in the Eucharist.
3

ABSTRACT ART AND SACRED ART (Sztuka abstrakcyjna i sztuka sakralna)

100%
Haake M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2009
|
vol. 2
95-110
EN
The purpose of the article is to discuss Via Crucis, a work by Marek Chlanda, which sets out to express one of the most important themes of Christian iconography in the language of abstract art. The author first asks whether the semantics of abstract forms can effectively convey the narrative and express the profound message of man's salvation by God. A positive answer is suggested by the manner in which Marek Chlanda alludes to the oeuvre of Kazimierz Malewicz, one of the founders of 20th-century abstract art, who was fascinated with communism. Thanks to Marek Chlanda, the legacy of the Russian artist can be recognized as an usurpation, an attempt to replace the Christian conception of the absolute by an impersonal authority, by which we are no longer morally obliged. This is particularly suggested by panel XV (Resurrection), in which a Malewicz-like black circle attempts to cover the crown of thorns. Far from being a mere allusion to the iconography of particular stations, Via Crucis also initiates a reflection on the role of religious experience in our modern time.
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