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1

Przedmiot i rzecz

100%

Sosnowska J. M.

Sztuka i Dokumentacja

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2016

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issue 15

8-16

2

W cieniu Tamary

100%

Sosnowska J. M.

Biuletyn Historii Sztuki

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2020

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vol. 82

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issue 4

643-658

EN

Tamara Łempicka (Tamara de Lempicka) created her own legend, modelling the history of her family to nurture the narrative meant to demonstrate how unusual she was, how exotic her life had been. Her biography generally accepted for publications disseminating unverified information continues to conceal many secrets which, as much as not actually having significant impact on Łempicka’s oeuvre, tell us much about the artist’s personality. Tamara meticulously hid the Jewish descent of her mother Malwina Dekler, inventing the story of a rich Polish family with typical intelligentsia fondness for high-profile music, living in Warsaw from the times of Napoleon. Meanwhile, the Deklers were a typical middle-class family professing Judaism, bonded with Warsaw for at least two generations. Among the family it was Tamara’s mother’s brother Zygmunt (?-1919) who was a particularly interesting individual: pioneer of motoring and aviation in Poland, an engineer, publisher, pilot, and a soldier of the First Legions Infantry Division, he most likely perished in the Polish-Soviet War. His grave is to be found in the Jewish Cemetery in Warsaw’s Okopowa Street. Thanks to him at least a part of Tamara’s family’s history has been revealed. In the legend created by Tamara a special role was played by her first husband Tadeusz Łempicki, whose personality was totally overshadowed by the artist. Meanwhile, both himself, but possibly first of all his family as typical representatives of Polish intelligentsia living in St Petersburg, deserve more attention. All the new findings related to Tamara Łempicka should become the basis for further research into the artist’s phenomenon.

PL

Tamara Łempicka stworzyła własną legendę, modelując historię swej rodziny na potrzeby narracji, która dowieść miała niezwykłości, a nawet egzotyki losów artystki. Jej życiorys, powszechnie przyjęty w publikacjach powielających niesprawdzone informacje, wciąż kryje wiele zagadek, które nie mają wprawdzie znaczącego wpływu na twórczość Łempickiej, ale wiele mówią o osobowości artystki. Tamara starannie skrywała żydowskie pochodzenie rodziny swej matki, Malwiny Dekler, konstruując opowieść o bogatej, mieszkającej w Warszawie od czasów napoleońskich, polskiej rodzinie z inteligenckimi zamiłowaniami do muzyki na najwyższym poziomie. Deklerowie byli tymczasem typową mieszczańską rodziną wyznania mojżeszowego, związaną od przynajmniej dwóch pokoleń z Warszawą. Postacią szczególnie interesującą wśród jej przedstawicieli był brat matki Tamary, Zygmunt (?-1919), pionier automobilizmu i lotnictwa w Polsce, inżynier, wydawca, pilot oraz żołnierz 1 Dywizji Piechoty Legionów, który najprawdopodobniej poległ w wojnie polsko-bolszewickiej. Jego grób znajduje się na cmentarzu żydowskim w Warszawie przy ulicy Okopowej. Dzięki niemu udało się odsłonić przynajmniej część historii tej rodziny. W legendzie stworzonej przez Tamarę szczególną rolę odgrywa jej pierwszy mąż – Tadeusz Łempicki, którego postać zupełnie przepadła w cieniu artystki. Tymczasem i on, a może przede wszystkim jego rodzina, jako typowa dla przedstawicieli polskiej inteligencji żyjącej w Petersburgu, zasługuje na większą uwagę. Wszystkie nowe ustalenia dotyczące życiorysu Tamary Łempickiej powinny stać się podstawą do dalszych badań dotyczących fenomenu tej artystki.

3

Linda Nochlin – feminizm, realizm i polska historia sztuki

100%

Sosnowska J. M.

Rocznik Historii Sztuki

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2022

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issue 47

135-143

EN

Linda Nochlin’s book Realism was published in the United States in 1971. The reasons for its prompt publication in Poland are not known, as in 1974 it did not generate much interest. However, at that time methodological problems similar to those presented by Nochlin began to be addressed in Polish art history. The effects of these activities became apparent only in the 1990s, when feminist art also began to be discussed in Poland.

4

Sztuka Legionów Polskich

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Sosnowska J. M.

Rocznik Historii Sztuki

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2015

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issue 40

61-80

EN

The concept of legionary art is usually linked to the work of artists serving in Józef Piłsudski’s Legions and of all those who supported their ideas. Although the events of the First World War were reflected widely in the art of very disparate artistic circles in both Europe and America, legionary art remains unique because of its distinct character. Polish artists depicted the war without showing its cruelty and horror. It is not a special kind of Polish pacifism that led them to paint serene or at least neutral scenes from the soldier’s life, such as sunlit forest clearings cut across by trenches or poignant crosses under lonely country trees; on the contrary, as the Czech philosopher Jan Patočka recognized, it was a desire to fight in the name of a vision of peace and a better life. In this visionary world, there was no place for doubting the purpose of war, as in paintings that showed the cruelty of combat and the terror of death. The rhetoric of legionary art was absolutely clear, although the style of the works themselves varied. Older artists, familiar with the ongoing war thanks to the stories of younger colleagues and from press reports, painted pictures in the style of nineteenth-century battle scenes. The works of painters fighting on the front were different, and although in theory they did not show the horror of war, they are distinguished by an ineffaceable quality, recognizable even today, the result of their longing for freedom, a desire to emphasize one’s own identity, the hope for change and the trauma of war. One of the most important factors defining the nature of legionary art was the emphasis of its own identity, for example by placing uniformed elements in paintings, including portraits. On a day to day basis, their identity was for the Legionnaires an end in itself. The fact that the Polish army had been reborn after a hundred years of non-existence was the most important thing for its participants. They were happy to be portrayed in a way that commemorated this situation. Women were also part of Piłsudski’s Legions, but this was not reflected in the art, probably because of ambivalent opinions about the part they played in combat. The nature of legionary art means that in the last hundred years it has become largely anachronistic, now almost exclusively labelled as illustration. However, an open question still remains about the role it played in giving us information about the Legions.

5

Poezjosztuka „Bloku”

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Sosnowska J. M.

Biuletyn Historii Sztuki

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2024

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vol. 86

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issue 3

57-78

EN

The “Blok” magazine, the most important periodical of the mid-1920s visual art avant-garde, has never been comprehensively discussed in terms of its visual content. The focus has been on theoretical matters, on the discussion between Władysław Strzemiński and Mieczysław Szczuka concerning the essence of avant-garde art – its autonomy versus utilitarianism. Yet an analysis of the visual message conveyed by “Blok” indicates that its editor Mieczysław Szczuka considered it important to confront poetic programmes as well. He engaged in a dialogue with the “Almanach Nowej Sztuki” milieu, creating visual equivalents of their poetic programme.

PL

„Blok”, najważniejsze polskie pismo polskiej awangardy połowy lat 20. XX w., nigdy nie został kompleksowo omówiony pod względem zawartości wizualnej. Koncentrowano się na sprawach teoretycznych, dyskusji między Władysławem Strzemińskim a Mieczysławem Szczuką dotyczącej istoty sztuki awangardowej (autonomia versus utylitaryzm). Tymczasem analiza wizualnego przekazu „Bloku” wskazuje, że dla jego redaktora Mieczysława Szczuki ważne było również konfrontowanie się z programami poetyckimi. Prowadził dialog ze środowiskiem „Almanachu Nowej Sztuki”, tworząc artystyczne odpowiedniki ich poetyckiego programu.

6

Stopy Barbary Radziwiłłowny

100%

Sosnowska J. M.

Konteksty - Polska Sztuka Ludowa

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2011

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vol. 65

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issue 2-3(293-294)

252-258

EN

The history of art is full of examples proving that reciprocated feelings were a factor stimulating artistic creativity. In his painting Death of Barbara Radziwiłówna Józef Simmler disclosed the feet of a dying woman - the painter was looking at his wife who acted as a model. This canvas was part of Victorian ambience, characteristic for an epoch when bourgeois morality concealed sexuality but did not obliterate it; sexuality expanded in assorted forms, today difficult to capture and hidden under various cotsumes. An academic, formalistic and historical discourse dimmed the subjectivity of this painting, The fact that it immediately became public property also contributed to this approach. The private sphere became dominated by its historical counterpart, in which the queen’s naked feet became meaningless. The work was extracted from concrete social space, in which art had for centuries a certain place in the history of art, whose formative element was the public collection/musem. This was the onset of the discourse on modernity.

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Przedmiot i rzecz

W cieniu Tamary

Linda Nochlin – feminizm, realizm i polska historia sztuki

Sztuka Legionów Polskich

Poezjosztuka „Bloku”

Stopy Barbary Radziwiłłowny