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1

AUBREY BEARDSLEY IN RUSSIAN ARTISTIC-LITERARY CIRCLES IN LATE 19TH AND EARLY 20TH CENTURIES

100%
Bobilewicz G.
Slavia Orientalis
|
2007
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vol. 56
|
issue 4
499-508
EN
In late 19 and early 20th century, Aubrey Beardsley, an English Art Nouveau printmaker and illustrator, gained great popularity in Russian artistic-literary circles. His diverse visual, literary, and musical work influenced Russian art of that time in a comprehensive and multifunctional way. Beardsley's artistic aesthetics, cultural retrospection, intellectual perversity, sophisticated eroticism, contour style, skilled use of the contrast between black and white spaces, far-reaching deformation of human and animal shapes, and decorative and atmosphere-building values of his drawings underwent an artistic transformation in the works of artists of the 'Mir Iskusstva' Saint Petersburg Group (e.g. Constantin Somov), but mainly in illustrations, prints and book art (ornaments, vignettes) of e.g. Lev Bakst. Moscow symbolists were inspired by Beardsley's unusual content, motifs of his works (drawings, poems, short stories), and their eclecticism, literary quality, simultaneous influence on intellect and senses, sophisticated form and continuous pursuit (in content and form) of the sensational and mysterious. Beardsley's personality and work fascinated Valeriy Briusov who dedicated a poem to the English artist, and, as an editor of the literary magazine 'Vesy' devoted one of its issues (1905, No. 11) to Beardsley. Among visual artists, the painter Nicolai Fieofilaktov gained the title of 'Moscow Beardsley'.
2

TADEUSZ MICINSKI AND RUSSIA. SKETCH FOR THE SUBJECT

100%
Bobilewicz G.
Slavia Orientalis
|
2008
|
vol. 57
|
issue 2
247-260
EN
In the years 1915-1918, Tadeusz Micinski stays in Russia (Moscow, St. Petersburg) as an Austrian subject. His interests and activities in that period have many-sided character and manifest in diverse forms. In Russia Micinski continues his literary and journalistic work. He publishes in the Polish emigration papers (e.g. 'Echo Polskie') and Russian ones (e.g. 'Utro Rossii'). He takes an active part in political, cultural and educational program of the Polish community in Moscow and Petersburg. In the Societies and Literary-Artistic Circles he lectures on Polish literature, delivers lectures during anniversary meeting and scientific courses. Micinski collaborates with Russian intellectuals and authors as well. He is interested in new artistic concepts, publishes reviews of drama performances and exhibitions of paintings. In both milieus Micinski plays the role of an emissary of Polish moral and religious revival as well as a mandatary of Polish messianism. In Moscow Religious-Philosophical Society he takes part in discussions about unification of Slavs. In this lectures, which were accepted with a respect by Russian authors and thinkers as Viacheslav Ivanov, he underlines the role of Poland in linking Western and Eastern cultures.
3
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Mail Art

100%
Bobilewicz G.
Studia z Filologii Polskiej i Słowiańskiej
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2006
|
vol. 41
225-237
EN
Act of mail communication has been considered artistic action not earlier than in 20th century. The name was applied to it: 'mail art' ; it becomes the synonym of democratic art. Initially, artistic production of 'mail art' involved all media which prey magic of mail: letters, postcards, parcels, post stamps, seals, commemorative and celebrative prints. Communicate / project of 'mail art' was democratically variegated, and presentations and exhibitions of 'mail art' were multiple. During the 70-s 'mail art' was already an independent and autonomous. Its manifesto was produced by Ulises Carrion, a Dutchman. What was the subject - and matter - of the mail exchange was art, purely and exclusively. All attempts to define what the 'mail art' is were marred by the name itself. Guy Bleus was the author of its understanding. According to him the term denominates art: of communication by mail, telephone, cable, telex, fax, floppy disc, or a computer. The art is of the procesual nature; acting is more important than creations. Art of mail is also a collective activity, it is a direct or indirect dialogue. Close to the end of the century, the term of 'mail art' broadened to include networking (art activity involving the net). From the start, 'mail art' was NOT the art. Trend or gender, but was a new manner of creating new space in which art and sister areas of activity function. The programme for 'mail art' set forth for 21th century assumes that it shall transform itself, or evolve into, a mass games of peaceful exchange.
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