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1

CYPRIAN NORWID'S ENCOUNTERS WITH PHOTOGRAPHY

100%
Melbechowska-Luty A.
Rocznik Historii Sztuki
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2006
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vol. 31
77-86
EN
Cyprian Norwid (1821-1883), an outstanding Polish poet, prose writer, thinker, but also a draughtsman, painter, sculptor and graphic artist, commented several times on the role and importance of photography. In 1854 he turned his attention to the 'phenomena', which were the inventions of the 19th century (albeit in accordance with his historical thinking he believed that many of them had been invented and described long ago). He accepted photography and its benefit, appreciating the advantage of a true-to-life picturing of people and things and preserving the memory of them. Norwid himself posed for a photograph several times and, like in his self-portraits, in this way he deliberately created his image himself. In 'Black Flowers' (Czarne Kwiaty), with a 'daguerreotypic pen' he recalled the memories of those who were close to him (among others Fryderyk Chopin, Adam Mickiewicz, Juliusz Slowacki). From the well-known Warsaw company of Karol Beyer he used to get the 'calling cards' of his friends and acquaintances. He also collected the photographs from all around the world for his 'Orbis Album in Draft' devoted to the history of civilisation, which at the same time was his 'artistic portfolio'. With reference to painting art, Norwid thought that the recent invention of daguerreotype would certainly influence memory and art, but would also outdo a simple, sensitive vision, that is impression, and that was why man had to turn towards expression, which was a 'working out the impression in our hearts'; from this angle he examined the paintings of, for instances, Gustave Courbet and Leon Kaplinski. Although Norwid considered photography as a valuable medium and technical help for painters, yet never he made equal its advantages with the ethos of the fine art, with a spiritual creative act and inner experience of an artist, which he always placed on the highest registers, because 'only a percent of feeling of contemplation could be painted', and 'no photographer could replace a true sketch'.
2
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Elegy and Drama. The Niches, Passages and Thresholds of Jacek Sempolinski

100%
Melbechowska-Luty A.
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2007
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vol. 61
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issue 1(276)
65-70
EN
In March 2006 the Studio Gallery in Warsaw held an exhibition of paintings and drawings by Jacek Sempolinski, testifying to the considerable extent in which his oeuvre is connected with the ingenium of Kazimierz on the Vistula , an exceptionally picturesque small town whose symbolic, myth and legend have successively grown in the course of past centuries. Sempolinski used to come here already as a child, and from 1979 he spends his summer vacations in an old thatched-roof cottage in nearby Mecmierz. The show featured numerous 'Kazimierz' works (executed in mixed techniques) in which objects and motifs change into 'sui generis' phenomena of spiritual art, functioning on a lower level and living a life of their own. The works in question include a Baroque statue of St. John from the parish church, transposed by the artist, The Crucified from the church of St. Anne, dramatic Heads of the dying Christ, simple crosses without the figure of Jesus, executed in pencil, water paint or pastel, the local quarry with outlines of blocks of stone, the shadow of a cross or a skull, as well as views of the castle in Janowiec, a metaphor of the author's recollections and youthful experiences.
3
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Harmonia mundi. Several reflections on the Imagery of Stanislaw Fijalkowski

100%
Melbechowska-Luty A.
Konteksty - Polska Sztuka Ludowa
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2006
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vol. 60
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issue 1(272)
100-109
EN
The retrospective exhibition of paintings, drawings and graphic art by Stanislaw Fijalkowski, held in 2003 in Poznan, Wroclaw and Warsaw, brought the public closer to the oeuvre of this acclaimed author, already regarded as a classic of contemporary art. Fijalkowski, born in w 1922, studied at the State Art Academy in Lódz in 1946-1951 under L. Tyrowicz, S. Wegner and W. Strzeminski, his master. Influenced by the avant-garde tradition of the Lódz milieu, he rapidly transcended its conceptions and established the principle of his own creativity, based on an individual perception of the world and excellent philosophical and theatrical training. For years, Fijalkowski sought inspiration in the resources of world cultural heritage, benefiting from the theory of archetypes formulated by C. G. Jung, philosophical thought, the science about symbols, anthropology of culture, literary imagination, mythology, Judaeo-Christian tradition, the symbolic of numbers, elements of Far Eastern spirituality, and the art of his great predecessors: Expressionists, Surrealists and Constructivists, i. a. V. Kandinsky, whose texts: 'Point,Line and Surface and On the Spiritual in Art' he translated. Fijalkowski's abstract art is suffused with meaning and based on the subconscious, the intuition, the imagination, the spiritual experiencing of all phenomena and the symbolic 'prototypes of form'. The distinctive trait of his compositions consists of an unusual repertoire of plastic 'signs' such as circles, spheres, triangles, cubes, ellipses, cylinders, cones, arches, strips, figures, fields of dots and lines, as well as the heads, profiles, wings and outlines of angels, and thus geometrical and biomorphic forms, always subjected to rhythms, inserted into smooth surfaces or vertical, horizontal and transverse divisions, which act as the construction core of his compositions. The most outstanding works include 'Paintings for Waleria' (the artist's wife), brimming with 'colourist sensitivity', 'Talmudic Studies, Highways' (metaphors of spiritual 'elevation') and compositions commemorating Solidarity and dealing with the motif of the martial law period in Poland during the early 1980s. The author employs various graphic techniques, including woodcut, etching, aquatint, lithography, and linoleum block printing, which serve as an excellent means of expression; he is just as successful in applying computer graphics. Fijalkowski always supports the 'open form' of his works which enables them to be constantly supplemented and rediscovered by the imagination of the viewer, based on the latter's own associations.
4
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Tribal Rhapsody. Private Notes on the Art of Magdalena Abakanowicz

100%
Melbechowska-Luty A.
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2007
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vol. 61
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issue 1(276)
105-109
EN
The numerous sculptures by Magdalena Abakanowicz include unusual visual concepts, meanings and contents relating to man's individual and group experiences. She is interested in all that is alive: man, animal and plant, their diverse 'bodies', which she shapes or commemorates in anthropomorphic or biomorphic forms by using natural material, e. g. wool, canvas, jute, hide, horsehair, and wood but also stone and metal. The characteristic features of her works include monumentalism and a masterly treatment of 'mobile' textures which link the structures of the surface with the very core of a given composition. Abakanowicz is the author of highly unconventional fabrics known as Abakany; these by no means decorative or utilitarian objects comprise large-scale soft sculptures organizing space.The human figures which are, as a rule, incomplete, maimed, naked, headless, armless, and sexually undefined (derived from the myth of Androgyne), are accompanied by Sitting Figures, Backs, Heads, Faces, Self-portraits and the figures and heads of animals. Hundreds of figures - swathed in sacking or cast in bronze - are arranged in rows and crowds against the backdrop of a panorama of large towns, in parks and gardens or on the banks of rivers and lakes. Abakanowicz constantly resorts to the oldest motifs, such as the form of the circle and in Israel arranges large circles composed of limestone in the Negev Desert. Her Sarcophagi bring to mind coffins and the covers of nuclear reactors. Untamed imagination directs her towards architectural- town planning sculpture designed on an immense scale. She is the author of visions of plant-entwined houses-gardens intended for Paris and the 640-metres high Hand Monument, probably the loftiest statue in the world, commemorating the victims of Hiroshima. Her entire oeuvre refers to the existential and spiritual condition of homo universalis and all cultures.
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