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1

Bruno i Caravaggio. Filozof heretyk i malarz heretyk w twórczości Gustawa Herlinga-Grudzińskiego

100%

Grigorova M., Nowosad A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2016

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vol. 16

61-78

PL

Bruno and Caravaggio – the heretic philosopher and the heretic artist in the works of Gustaw Herling-Grudziński The present text follows the extraordinary “double portrait” of Bruno and Caravaggio – rebels in science and art, who are being „painted” by the Polish emmigrant writer in his works. They live together in his thoughts for many years. Herling writes series of texts about them, in which the position of the main character changes, but the remaining one is always inseparably present. The texts analyzed are his essay “Caravaggio” (1990) and the story about Giordano Bruno – “Deep shadow” (1994). There are fragments of them which are shown in “Journal Written at Night” (1985, 1996), and in “Talks in Dragonea” (1997) – between Herling and Bolecki. Key words: Giordano Bruno; Caravaggio; Gustaw Herling-Grudziński;

2

„Powołanie św. Mateusza” Caravaggia, czyli kto jest kim w obrazie i skąd to wiadomo?

89%

Jarzewicz J.

Biuletyn Historii Sztuki

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2020

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vol. 82

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issue 3

337-365

EN

Caravaggio’s painting Calling of St Matthew has been inciting vivid interest since its creation. Additionally, it is one of those works whose studying has been perfecting the methodology of art history. Despite the painting’s extensive studies what has remained controversial is such a basic issue as the identification of the protagonist: which of the figures in the painting is Matthew? Such a situation questions the appropriateness of to-date applied interpretation methods. This very issue is analysed against a general background: how do we know who is who in the painting, and a new justification of the traditional identification based on the presumptions resulting from the work’s contexts has been proposed.

PL

Obraz Powołanie św. Mateusza Caravaggia budził wielkie zainteresowanie już od czasu swojego powstania. Jest jednym z dzieł, na których badaniu doskonalone są metody historii sztuki. Mimo wielkiego dorobku badawczego, przedmiotem kontrowersji pozostaje nadal tak podstawowa kwestia, jak identyfikacja protagonisty: która z postaci na obrazie przedstawia Mateusza? Taka sytuacja stawia pod znakiem zapytania odpowiedniość dotychczas stosowanych metod interpretacji W artykule rozważono ten problem na generalnym tle: skąd w ogóle wiadomo kto jest kim w obrazie i zaproponowano nowe uzasadnienie tradycyjnej identyfikacji w oparciu o przesłanki wynikające z kontekstu dzieła.

3

Malarz uchodźca. Poetyckie spotkanie z Caravaggiem w twórczości ks. Janusza St. Pasierba

89%

Peroń M.

Roczniki Humanistyczne

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2014

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vol. 62

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issue 1: Literatura Polska

114-128

PL

W poezji ks. Janusza St. Pasierba znajdują się trzy wiersze inspirowane malarstwem Caravaggia. Dwa z nich tworzą poetycki cykl na temat obrazu Ścięcie św. Jana Chrzciciela (Oratorium św. Jana Chrzciciela, Malta). Poeta odwołuje się do biografii malarza, zwłaszcza jego awanturniczego trybu życia, oraz wnika w wydarzenia biblijne. Istotna dla jego refleksji jest przestrzeń architektury, która bogactwem wnętrza kontrastuje z surowością dokonywanej zbrodni. Poeta wykorzystuje malarską zasadę kontrastów, by ukazać sytuację człowieka współczesnego. Poetycka refleksja dotyczy różnorakich aspektów wygnania: egzystencjalnej sytuacji samotności oraz stanu grzechu, doświadczenia śmierci, pokuty i nawrócenia.

EN

Among Rev. Janusz St. Pasierb’s poetical works there are three poems inspired by Caravaggio’s painting. Two of them make up a poetical series whose subject is the painting Beheading of St John the Baptist (Oratory of St John’s Co-Cathedral, Malta). The poet refers to the artist’s biography, and especially to his belligerent way of life, and he analyzes biblical events as well. The architectural space that with its wealth of the interior is contrasted with the harshness of the crime that is being committed, is significant for him. Using the painter’s principle of contrasts the poet shows the situation of the modern man. Poetic reflection is concerned with various aspects of exile: the existential situation of loneliness and the state of sin, the experience of death, penance and conversion.

4

Profesor Camilleri i pan Caravaggio. Multimodalne studium twórczości i psychozy

76%

Olkusz K.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 34

121-144

EN

Multimodal techniques (meaning the use of narrative modes signalised by various typographies etc.) enable a fuller presentation of Caravaggio’s mental dysfunction (in the novel the focalizing role is performed by, among others, the notes of the painter who is falling into obsession and madness – it is these that form his internal storyworld). Confrontation with the journalistic account, provided by the alter ego of the very author of the novel (so called sylleptic narrator) – that is the second level of narration – constitutes the modal frame for the presentation of the artist’s fate and contributes to showing the mental state of Caravaggio who is obsessed with “black sun” (this obsession might be the source of the chiaroscuro technique), and who sees in hallucinations his own severed head. This way, Camilleri creatively exploits the motif of decapitation, found in Caravaggio’s paintings, following many research studies showing that the heads found in the paintings could have been the painter’s self-portraits and expressions of his expiation. This context is supplemented by reproductions of Caravaggio’s paintings, which are embedded in the narration and “commented upon” in his fictional journal, thus constituting yet another layer registering (and illustrating) what takes place in the artist’s mind.

5

Admiration in Place of Imitation: Four Medallions by Gustaw Herling-Grudziński

75%

Śniedziewska M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2019

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issue 8

113-129

EN

The medallions devoted to Caravaggio, Rembrandt, Vermeer, and Ribera are a major collection of texts within Gustaw Herling-Grudziński’s entire output. Through them, he proved that he was able to write a moving text about painting while avoiding both the academic tone and flaunting his knowledge, as well as the dangers of ekphrasis transforming too often into irksome detailed inventories of the elements of a painter’s presentation. The decision to refer to these texts as medallions was equally a genological concept and a clever hedge, and a starting point for a discussion on the ambiguity of the very notion of a medallion. Herling-Grudziński would not have been himself if he had abandoned autobiographical reflections. When considering artists and their works ‘from aside’, he multiplied assumptions, proposed apocryphal versions of some biographical threads, and formulated bold unverifiable hypotheses – this was because he sided with a literary story, not an academic discourse.

6

Czy artyście wolno być przestępcą? Kilka pytań bez odpowiedzi

62%

Giżycki M.

Kwartalnik Filmowy

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2021

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issue 113 Film i technologia

232-242

PL

Czy mamy bojkotować ważne filmy dlatego, że ich autorom/autorkom coś się zarzuca? Czy mamy poddawać ostracyzmowi dzieła artystów/artystek, którzy w pewnym momencie swojego życia opowiedzieli się po stronie zbrodniczych reżimów? Czy mamy usuwać pomniki z przestrzeni publicznych, bo powstały w niesłusznej sprawie, nawet jeśli są ważne z punktu widzenia historii sztuki? Czy można oceniać wartość dzieł sztuki przez pryzmat życia ich twórców/twórczyń. Te i podobne pytania zadaje autor i pozostawia je bez odpowiedzi, przypominając, że już Roland Barthes pisał, iż ukończone dzieło odrywa się od autora i zaczyna żyć własnym życiem.

EN

Should we boycott important films only because their authors have been accused of some misconduct? Are we to exclude works of artists who at some point sympathized with criminal regimes? Are we to remove monuments from public spaces because they served a wrong cause, even if they occupy an important place in the history of art? Should the value of a work of art be judged in the light of its creator’s life? The author asks these and similar questions and leaves them unanswered. He evokes, though, Roland Barthes’ idea that once completed, the work detaches itself from the author and starts its own life.

7

The Gender Metamorphosis of Narcissus. Salvador Dalí: Metamorphosis of Narcissus

45%

Kalnická Z.

Estetyka i Krytyka

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2016

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issue 2(41)

51-76

EN

This contribution is devoted to an interpretation of the artwork, from a gender point of view, Metamorphosis of Narcissus by Salvador Dalí. Dalí’s painting is compared with the Narcissus stories to be found in antiquity, particularly in Ovid’s Metamorphoses, with his stress on the beauty of a young boy, and the commensurate concepts of seeing and mirroring. The gender associations of narcissism and their changes are well-documented in the history of art (Caravaggio, Edward Burne-Jones) and in different concepts of narcissism (Sigmund Freud, Gaston Bachelard, Lou Andreas-Salomé, Julia Kristeva). The author focuses on the gender aspects of surrealism, keying in especially to the concept of Anima and Animus (Carl Gustav Jung). Dalí’s work is analyzed in terms of associating Narcissus not merely with seeing and mirroring but also with touching and metamorphosis, emphasizing his remarkable skill at transgressing gender divisions in his visionary leap towards androgyny.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Biuletyn Historii Sztuki

1 Czytanie Literatury. Łódzkie Studia Literaturoznawcze

1 Estetyka i Krytyka

1 Kwartalnik Filmowy

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Roczniki Humanistyczne

1 2021

1 2020

1 2019

1 2018

2 2016

1 2014

1 Giżycki M.

1 Grigorova M.

1 Jarzewicz J.

1 Kalnická Z.

1 Nowosad A.

1 Olkusz K.

1 Peroń M.