Search results

1

Czapski wobec abstrakcji.

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Majewski P.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

38-45

EN

Józef Czapski, as a painter and critic who lived and worked after the WW2 in the Parisian centre, was watching ubiquitous abstraction of the 1950s with certain astonishment; he used to treat it rather as a symptom of a superficial, lacking philosophical background fashion than a serious, or to call it more appropriate, forerunning and significant artistic offer. He pointed out inaccuracy in terminology and confusion with ideas he was able to notice in the literature of the subject, which he was perfectly aware of, and art critics’ discussions around abstraction in the then contemporary times. On the other hand, he drew a panorama of abstract painting striving which spread between a vision of an art language of “Puritans”, like Malevich and Mondrian, and “the dazzling elucubrations” of the Tachists of Mathieu type. In Czapski’s considerations there are plenty of rhetorical questions about the status of abstract art and its significance in presence and future. His restrained acclaim for tremendous successes of Abstractionists in galleries and art centres is combined with his doubts about the quality and range of this noisy wave of abstract painting. They are welded by his accurate and erudite observations of status quo. The author of the paper makes an attempt at critical reconstruction of Czapski’s theoretical views regarding “the Niagara Falls of abstract production” on the one hand, while on the other he recalls Czapski’s valuation of abstraction prime in Poland at the period of Thaw, he also recalls the painter’s late fascination with Nicolas de Stäel’s oeuvre and poses questions about influence of this painting formula on the artist’s work itself.

2

Wpływy i sztuka narodowa Józefa Czapskiego wobec sporów o pryncypia epoki.

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Wasilewska D.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

55-61

EN

The 1930s in Polish art criticism is a period of distinct changes in approach to art. On the one hand, the death of the avant-garde was an- nounced triumphantly – as too difficult, too hermetic and too distant from an everyman’s needs, and this combined perfectly with a strong turn towards neohumanism, tradition and justification of a thing rejected by the avant-garde. On the other hand, the Kapist milieu and related with it critics, supported by the Constuctivists from Łódź despite many different artistic concepts, stubbornly defended innate features of artefacts, staying afar from subordinating art to any non-artistic aims. As a result of a struggle between these two main positions, on pages of the journals of those times one could follow violent disputes and quarrels full of sophisticated and often abusive rhetoric. This is why Józef Czapski broke a mighty storm by publishing in 1933 in “Droga” [Road] monthly his article Influences and national art, in which he announced the necessity of revaluation of the country cultural legacy and the need of “opposing all storms of influences”. He was severely punished for “profaning” Matejko by taking all painterly values out of his art. The heart of the argument was not the master’s very oeuvre but the attitude of the antagonists towards national art and foreign, mostly French, influences on it. On both sides of the artistic barricade similar objections were expressed – about localism, following out-of-fashion streams and anachronism. Only the rhetoric was similar, the views were totally different. The defenders of national art, critical about art on the Seine and any “avant-gardisms”, vote for engaged art, which justified an object and refers to Polish folk tradition. Whereas the Kapists stressed the painterly aspects of works of art, and they wanted to see Polish art as a partner of Western art, open to influences and being a co-builder of modern European art. These two attitudes, impossible to conciliate, predominated the artistic press in the 1930s, and returned later, in a slightly different form and another political reality, in the post-war discourse on art and artists’ social duties.

3

Działalność krytyczna Józefa Czapskiego na łamach „Głosu Plastyków”.

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Geron M.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

46-54

EN

Józef Czapski’s trip to Paris together with his colleagues from the Krakow Academy who constituted Komitet Paryski [Parisian Committee], in 1924 under the guidance of Józef Pankiewicz, had decided the direction of the young artist’s search. A few-year stay on the Seine enabled his contact with the old masters but also with Impressionism and Post-Impressionism. These movements influenced not only his artistic work, but they were also reflected in his texts. When the artist came back to Poland, he entered the editorial staff of “Głos Plastyków” [The Voice of Visual Artists] magazine issued in Warsaw, connected with the Kapists. He commenced art criticism on its pages by presenting articles dedicated to modern art. His first text appeared to be a review of Édouard Manet’s monographic presentation in Paris in 1932. An exceptional character in Czapski’s views was Paul Cézanne – a patron of the Kapists, especially in their strive to elaborate their artistic attitude. By judging his oeuvre, Czapski when writing about form simplification and geometrisation, also accentuated the meaning of colour, which played the key role in the Kapists’ artistic work. A special issue of “Głos Plastyków” of 1937, dedicated to Cézanne, proved their fascination with the artist’s oeuvre, and covered, among others, Czapski’s review on John Rewald’s book Cézanne and Zola, which described the relations between the painter and the critic. In the same year there were published two articles dedicated to the late then colleagues, Stanisław Mitera and Zygmunt Waliszewski. As an example of a review of Warsaw current shows came the text Z warszawskiej partyzantki. Na marginesie Zimowego Salonu w IPS [From the Warsaw partisan forces. On the margin of Winter Salon at the IPS] (1934), which occurred to be the part of a discussion on national art and the role of tradition. The connection of Czapski with “Głos Plastyków” was an important stage in the development of his artistic and critic career. By exhibiting his works with the Kapists, he took part in the dispute referring to the role of art, revision of opinions on 19th-century Polish painting, and in 1937 he published the first art monograph dedicated to his Professor, Józef Pankiewicz.

4

Księgozbiór Józefa i Marii Czapskich w Bibliotece Muzeum Narodowego w Krakowie. Komunikat

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Frankowicz S., Zdanek K.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

142-151

EN

The Library of the National Museum in Krakow keeps over 1500 volumes of books and magazines from the collection of Józef and Maria Czapski’s from Maisons-Laffitte, handed to the Museum as a part of the artist’s legacy. In the majority of the titles Józef Czapski had left traces of his frequent readings in a shape of colour circling, comments and notes. In some of them the artist’s drawings may even be found. Many of the books prove to be gifts for Józef or both the siblings from friends and acquaintances – European intellectuals, Polish emigrants and activists of opposition in Poland. The communiqué describes the collection and presents the most interesting items.

5

Józef Czapski w Hiszpanii.

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Rabajczyk M.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

80-87

EN

Józef Czapski was in Spain twice, in 1930 and 1981. He described his first journey to the Iberian Peninsula on the pages of “Pamiętnik Warszawski” [The Warsaw Diary] magazine under the title Notatki z podróży. Hiszpania [Notes from the journey. Spain]. For Czapski one of the most exciting artistic experiences during this trip was “discovering” El Greco and Francisco Goya in the Prado. In the 1920s and 1930s, when Czapski attended courses at the Academy of Fine Arts in Krakow, and afterwards when he went with the Kapist group to Paris, the very El Greco was the most admired among Spanish old masters. The rank of this born on Crete and active in Spain artist was made firm thanks to tracing similarities between his and Paul Cézanne’s oeuvres. The latter gained more and more admirers in the period between the WWI and WWII. In the post-war artistic work of Czapski we are able to trace his inspirations by Spanish painting. In his Diaries he used to sketch some still-lifes by Juan Sánchez Cotán and Francisco Zurbarán, as well as some portraits by Goya. In his texts he also pointed out influences by Spanish masters on contemporary to him painting of Chaïm Soutine and Georges Braque.

6

Czapskiego refleksyjność estetyczna.

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Mańkowski Z.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

24-37

EN

The topic of reflection included in the paper is Czapski’s essays and diaries, mostly concerning art matters. The contents of the article is defined by a formula of reflectiveness, seen as the most appropriate to the character of thoughts on art of the author of Patrząc (Looking). Reflectiveness presumes inclination to theorisation, “casting glimpses at oneself”, conceptual follow of the experience, and it is related with revealing everything that may include human and artistic conscience as a cognitive task. The phenomena of aesthetic reflectiveness, bound to Czapski’s both painting and writing, I refer mainly to creatively comprehended mimetic activity, to experience connected with senses and connected with the questions of permanence and origins of an artistic process as well as following phenomena: sensitivity to sensual nature of existence, questions of seeing and a painter’s aesthetic choices, e.g. directing towards Post-Impressionist aesthetics. Besides, reflectiveness of Czapski’s artistic experience is foremost reflectiveness of an artist and his responsible turning to intellectual effort of a thorough explanation of his own creative experience. Art in view of Czapski’s reflectiveness becomes a conscious aesthetic attitude, fundament for a conscious life; it makes a base, allows to see and know who we are, and it also builds up a bridge to moral space from where we know what is to be done.

7

„Epoka się skończyła” – Józef Czapski wobec nowego malarstwa polskiego lat 80. XX wieku

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Markowska A.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

104-13

EN

“Save painting!“ – Czapski wrote in a rather dramatic manner to Rafał Jabłonka in 1985, after he had seen Dwurnik’s pictures at the Biennale de Paris. In his letter to the well-known marchand he expressed also his belief that the epoch of struggle for the so-called painterly painting (named by Czapski “peinture peinture”) ended. For Czapski it is a finished period of Cézanne and the time of École de Paris. Despite Czapski’s dramatic lamentation, the thesis I am about to submit is surely of a conciliatory (though slightly provocative) character: Czapski is quite close to Dwurnik after all. They are both Nikifor’s great admirers, they both combine text with image, they sometimes come up with a similar mood in their paintings with often enough same topics and last but not least, they both search for localness of some kind. Furthermore, Czapski makes corrections in Dwurnik’s works in a similar way he was once corrected by the Kapists. Still the Parisian artist does not paint following the Kapist rules, he even chooses other subjects: tired people on the metro, elderly, fat and ugly women over a wine glass; he captures scenes in a café, a gallery or a backyard truly, deeply and in an existential way; he paints baggage trolleys, bar interiors, local trains with weary passengers. Therefore, we may present a thesis that old Czapski, paradoxically, could have become a master for young generations of Polish painters, if he did not give rise to a strong – but not necessarily sincere when we confront it with the painting from Maisons-Laffitte – indignation. As it was rather Czapski’s subliming belief what did not appeal to the young Polish painters: for them it was not the road to salvation but to restrictions and lack of freedom. What Czapski has in common with the youth it is foremost his talent know-how. Hence it is probably not art itself but this unbearable, uncritical aura around his painting what made the young artists turn their backs from him. And one of the most talented painters of the 1980s, Marek Sobczyk, opposed to an outburst of admiration with his bitter comment: “It’s not being brave to paint one’s whole life in an undefined style of the first five or fifteen years of our century”. Dwurnik – as an artist in a generation gap between the debutants of the 1980s and the old Kapist – seems to be in this approach a rejected ego of Czapski. They do not share the world views: what is to be done with the reality, to which they are both so extremely sensitive. Czapski wants to put a spell on it at any price: as he knows that life in the repelled world is corroded by inanity. Still living in the enchanted world – though it has a sense deriving from the hierarchy of belief – is acutely hurting: as we never grow up to reach the ideal. Confrontation between Czapski and Dwurnik is therefore fundamental. In view of it, it is worth posing a question about Modernist preparation of Czapski’s painting legacy: does it really serve the artist, as – quite possibly, Czapski’s fantastic Diaries, which combine text and image breezily, are more inspiring visually than his canvases, unfortunately it is difficult to show Diaries in a Modernist white cube. Perhaps another glimpse at Czapski, free from any Modernist conditioning, is – paradoxically – a chance to have a look at Czapski as a totally different artist.

8

Martwa natura w Akademii Sztuk Pięknych w Krakowie dzisiaj.

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Organisty A.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

126-141

EN

The paper refers to an essay by Józef Czapski dedicated to still-life (Rzeczy nieżywe i bez ruchu / Unanimated and motionless things), in which he discusses an exhibition and a book by Charles Sterling Still Life Painting. From Antiquity to the 20th Century, and enthuses at the same time over a chance of painting this “ideal motif”, which appears to be for him just a disinterested painterly exercise. The purport of the text evokes recommendations of the members of Komitet Paryski [Parisian Committee], of which Czapski was a co-founder. Is his artistic attitude and to what extent still present in the milieu, in which this outstanding author was shaping his artistic views? Is it still popular among pedagogues and students of the Academy of Fine Arts in Krakow? Is it possible to trace references to the legacy of Krakow Colourism in the paintings by Grzegorz Bednarski, Jarosław Kawiorski, Roman Łaciak, Janusz Matuszewski, Mirosław Sikorski, Edyta Sobieraj or Zbigniew Sprycha? First of all the alumni of the Colourist ateliers, run years ago by Professors Jan Szancenbach (1928–1998) and Juliusz Joniak (b. 1925), have been asked this question. Another issue is a general question: what is the aim of painting still-lifes today? The search for senses, contemplativeness or an attempt at approaching the reality by means of painting argue with the role anticipated for a still-life by the Colourists. The paintings by the contemporary artists from Krakow seem to be closer to Czapski’s reflection written down in his books than still-lifes painted by him. These latter ones appear to be “solutions” of compositional values of a picture or seem to be sketchy and quick painted, hence it is difficult to see symbolic or contemplative character in them. What seems to be close to the Polish Colourists’ attitude is the fact that not all of the present Krakow pedagogues replied to the question in writing. Actually, the majority of the artists chose to present their paintings. Undoubtedly they outstand with their sophisticated technique (métier), sensitivity to the sound of colours, so important for the national painting legacy. Moreover, the paper has been supposed to refer to a still-life at the Academy “today”, as it has been expressed in the title. It has turned out that this avant-garde paradigm has no significance in painting of the article’s main characters. The majority of their pictures have been produced in cycles for at least a few years. Therefore, the word “today” included in the title, should be understood as a long period of arduous work over a still-life.

9

Fakty czy fenomen? Filomaci i kapiści.

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Sieroń-Galusek D.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

62-69

EN

Focusing on the young age experiences of Józef Czapski, the author considers the role played in his personal and artistic formation by the Kapists Group – the Committee of Parisian Aid for Students Leaving for Painting Studies in France. Works on the Kapists omit the fact that Józef Czapski’s sister, Maria, an expert on Adam Mickiewicz’s poetry, was connected with the group. We know from the artist’s biography that before leaving for Paris the Czapski siblings founded in Krakow an informal society of friends avidly reading the mystical works of Adam Mickiewicz. They met regularly to speak about the Bard’s writings. The author asks the question to what extent Józef Czapski, when building the myth of the youthful expedition of the Kapists in his essays, recreates the Filomat myth of a community of young people as an important stage in an artist’s formation. She considers the question if the Vilnius and Paris experiences are just facts or perhaps, being a deliberate continuation, they become a cultural phenomenon.

10

Czapski – wprowadzenie

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Okoń W.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

4-7

EN

In “Introduction” I am indicating the relations between Józef Czapski’s art and the world of ideas and values of Polish Romanticism, and foremost with writings by Cyprian Kamil Norwid who, just like Czapski himself, all his life created “an artist’s diary” of words and images, which was a record of his thoughts and impressions brought by the time he happened to live in. Czapski appears to be an adherent of the idea that art is a medium for reaching the “total reality” which is a form of incorporating primal visions, idealistic in their very matter, by using the rules of painting (already understood in the 20th-century manner) – as incorporation of a mystery present, according to the artist, in the surrounding us nature – that apply autonomously comprehended, purely visual means of painterly expression.

11

Józef Czapski – o dyletantyzmie i żarliwości.

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Baranowa A.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

8-16

EN

I am wondering how it happens that I consider Józef Czapski to be one of the closest to me artists. It is enough when I reach out for his texts, or see, here or there, one of his paintings. Even after a long break. In his case the artist format tightly combines with the human format. 20 years after his death there is probably no doubt about Czapski having been an artist and a man who had lived up to all dimensions, even though he himself would hesitate endlessly, what was reflected on the pages of his diary, where he used to record day by day his struggle for his own vision to “reach his own breath”. “What for do you paint? What for do you write? Because you know that this is where you can afford a sort of progress, where you can move, if you are able to be at work entirely” – he wrote down in his diary on 8 June 1965. The repeated ques- tions about sense of creation were enforced with an opinion uttered about the artist. His fellow-painters from Komitet Paryski [Parisian Committee], who he took more care about than himself, were ready to treat him rather as a manager in charge of their issues than a painter. It was rooted deep down in him as he talked about this even at the end of his life, when he eventually could feel great admiration. His friends from the aristocratic milieu did not save him anguish either. Wacław Zbyszewski in his article, published in the London “News” on the oc- casion of the artist’s 70th anniversary, gathered numerous lieux communs concerning Czapski that circulated in the Polish émigré mileiu. How does it happen that in Polish out-of-the-way places artists who exceed one discipline become disparged, what, luckily, has changed recently? I like the idea of seeing a complete, or following Wojciech Karpiński’s expression, “a multi-stringed” personality in Czapski. I am also in the group of those who see Czapski high – as the culmination of a spirit. In this sense the dilettantism he was accused of becomes an attitude of acute, open and penetrating minds. This is exactly what Czapski was like, he derived freely from universal culture, not feeling forced to justify his choices. Culture – understood as the domain of a human spirit – was his natural environment, he used to infect others with love for it. And how should an art historian write about these ardent fulfillments? Do Józef Czapski’s diaries make studies on his painting easier or more difficult? Most certainly both. As a lasting source of traces and concepts they are incredibly refreshing, but at the same time they impose limitations and points of view as we suddenly find ourselves thinking and writing in Czapski’s phrases, both illuminating and neurotic. The painter raises the bar high for those who study his oeuvre. He makes them take an ardency test.

12

Czapski nieznany

100%

Kłoczowski P.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 3(322)

203

PL

W niniejszym rozdziale przedstawiamy fragmenty prac kilku osób i instytucji nad mało znanymi terytoriami polskiego dziedzictwa intelektualnego i historycznego. Źródłowe itinerarium Józefa Czapskiego w Petersburgu w ostatniej dekadzie panowania Romanowów odsłania mimowiednie znaczący udział Polaków w wysokiej administracji Cesarstwa. Cesarstwa, które za czasów premiera Piotra Stołypina było na progu konstytucyjno-liberalnej ewolucji, złamanej przez jego zabójstwo w Kijowie w 1911 roku. Ta nadzieja wróciła po upadku caratu w lutym 1917 roku za pierwszego (i na blisko wiek jedynego) konstytucyjno-demokratycznego rządu premiera Lwowa i Kiereńskiego. Została ona złamana definitywnie po zdobyciu władzy przez frakcję bolszewików i Lenina. Młody Czapski jest w środku – blisko współczesnych elit politycznych i twórczych tego rozpadającego się świata z jego nadziejami i katastroficznym finałem. Itinerarium petersburskie jest dziełem Tatiany Kosinowej, historyczki z Petersburga związanej ze środowiskiem „Memoriału”. Przekład i opracowanie tego itinerarium to praca Hałyny Dubyk, ukraińskiej historyczki z Uniwersytetu Kardynała Wyszyńskiego w Warszawie (z pracowni prof. Piotra Mitznera). Odczytywanie dzienników Czapskiego jest projektem edytorskim i badawczych Instytutu Dokumentacji i Studiów nad Literaturą Polską, efektem wieloletniej benedyktyńskiej pracy Janusza Nowaka, jednego z najwybitniejszych polskich archiwistów, w którego pieczy pozostają Archiwa Józefa i Marii Czapskich, od chwili ich przewiezienia do Muzeum Narodowego w Krakowie z Maisons-Laffitte, oraz wybitnego młodego badacza i edytora Mikołaja Nowak–Rogozińskiego. Dziennik Czapskiego znany jako Wyrwane strony – we wspaniałej, definitywnej edycji „Zeszytów Literackich” – to autoryzowane, opracowane pisarsko przez samego Czapskiego, tytułowe „wyrwane strony” z dziennika. Fragment dziennika rosyjskiego Czapskiego z 1942 roku jest po raz pierwszy podanym do druku fragmentem dzienników, przygotowanym przez Mikołaja Nowak-Rogozińskiego w oparciu o rękopisy i maszynopisy Czapskiego – niestety już nieautoryzowanym. Pracom Instytutu Dokumentacji i Studiów nad Literaturą Polską, Dorocie Raszewskiej-Szczerbie i Ludmile Murawskiej-Péju zawdzięczamy podanie do druku w źródłowej, surowej postaci trzech okupacyjnych opowiadań Ludwika Heringa. Topografię okupacyjnej Warszawy Heringa komentuje Jacek Leociak, a w odniesieniu do samego Ludwika Heringa Ludmiła Murawska-Péju. Dwutomowe wydanie Listów Józefa Czapskiego i Ludwika Heringa w Bibliotece Mnemosyne stało się wydarzeniem ostatniego roku.

EN

This chapter presents fragments of works by several authors and institutions on little known territories of Polish intellectual and historical legacy. Sources pertaining to the St. Petersburg itinerary of Józef Czapski during the last decade of the Romanoff reign discloses unwittingly the significant participation of the Poles in the upper rungs of the Empire administration. This was a state, which at the time of Prime Minister Pyotr Stolypin found itself upon the threshold of a constitutional-liberal evolution toppled after his assassination in Kiev in 1911. The same hope returned after the fall of the tsarist system in February 1917, i.e. during the period of the first (and for almost a century the only) constitutional-democratic government of Prime Ministers Lvov and Kerensky. Ultimately, it was finally broken after power was seized by the Bolshevik faction and Lenin. Young Czapski was in the middle – close to the political and creative elites of this disintegrating world together with its hopes and catastrophic finale. The St. Petersburg itinerary is the work of Tatiana Kosinova, a historian from St. Petersburg associated with the ”Memorial” milieu. The translation and edition of the itinerary were conducted by Halyna Dubyk, a Ukrainian historian from the Cardinal Stefan Wyszyński University in Warsaw (workshop of Prof. Piotr Mitzner). Reading the Czapski diaries is the editorial and research project of the Institute for Documentation and Studies on Polish Literature, and the effect of years-long meticulous work carried out by Janusz Nowak, one of the most eminent Polish archivists and custodian of the Józef and Maria Czapski Archive from the moment of its transference to the National Museum in Cracow from Maisons-Laffitte, as well as the efforts of the outstanding young researcher and editor Mikołaj Nowak–Rogoziński. The Czapski diary, known as: Wyrwane strony – a splendid and definitive edition issued by ”Zeszyty Literackie” – consists of the titular ”pages torn from the diary”, authorised and edited by Czapski himself. A fragment of the Russian diary from 1942 is part of the diaries published for the first time and prepared by Mikołaj Nowak-Rogoziński upon the basis of Czapski’s manuscripts and typescripts, albeit unfortunately already unauthorised by the author. We owe the publication of the rough, source version of three Occupation-era stories by Ludwik Hering to work performed by the Institute for Documentation and Studies on Polish Literature, Dorota Raszewska-Szczerba and Ludmila Murawska-Péju. Comments on the topography of Hering’s Warsaw from that period are by Jacek Leociak. The two-volume edition of Listy by Józef Czapski and Ludwik Hering in the Biblioteka Mnemosyne series became a prominent event of the past year.

13

Czapski wobec Cézanne’a. Znaczenia autorytetu.

63%

Kiepuszewski Ł.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

70-79

EN

The paper focuses on the contents of Józef Czapski’s programme article 'O Cézannie i świadomości malarskiej' [On Cézanne and painterly conscience] published by the Institute of Art Propaganda in Warsaw in 1937. The detailed analysis of the text firstly, indicates Czapski’s specific understanding of the oeuvre of the French painter in a wide context of European art history. Secondly, it reveals rhetoric background of the article seen within the frames of the Kapists’ massive campaign aiming at reassessment of Polish painting tradition in the 1930s. Therefore, the reading is not only a report on the contents of the text about Cézanne, with a special attention paid to dynamics of meanings that construct it, but also deals with the question of a characteristic strategy of affecting the reader. Within the paper the author also makes an attempt at finding Cézanne’s motifs in the self-portraits painted by Czapski. The inter-pictorial dialogue refers to a complex phenomena of pressure, which is experienced by artistic identity and personality in view of a suggestive and self-imposing model.

14

Czy Czapski był dobrym kolorystą? Malarstwo Józefa Czapskiego wobec doktryny estetycznej K. P.

63%

Gryglewicz T.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

17-23

EN

In studies on Józef Czapski’s artistic work predominate discussions and analyses of his writings and of his social and political activity. As long as visual arts are concerned his critical oeuvre is much appreciated, a book on Pankiewicz and other remarks on art gathered in the volumes Oko [An Eye] and Patrząc [Looking]. Also his sketches are praised. Whereas his painting is not much described, as a negative though unjust opinion was shared with some of his fellow-artists Kapists who used to claim that Czapski lacked talent. In the following paper I have focused on formal, stylistic and aesthetic aspects of Czapski’s painting. Therefore, I act somehow against the main stream of studies on his artistic legacy. The Kapists came up with a very coherent painting doctrine, they stuck to it and made it a syllabus of artistic education in Poland after the WW2. One of the main theses of Polish Colourism was a belief that the value of an art piece is decided by its form and not contents, described disdainfully by the Kapists as “literature”. So did Czapski, in his writings he was rigid and uncompromising in tracing down weak points in form and colour in the then contemporary works of art, remaining unmoved in view of their pathetic symbols, he was for independence of art from the reality. When analysing Czapski’s paintings it is difficult not to notice that they differ significantly from ideal for the tendency works, especially those by Jan Cybis or Hanna Rudzka-Cybisowa (the other Kapists also stood aside this norm, everyone in his own way). Only his early works meet the assumptions of the Kapist movement. In the later period, mainly after the WW2, during his emigration in Paris, he stopped being truthful to the rule of the picture’s autonomy, which was followed by the Kapists, and he moved rather towards subjects and art based upon observation of the surroundings, art which included some elements of magnified expression. Georges Rouault, Chaïm Soutine, Max Beckmann, as well as figurative works by Nicolas de Staël are listed, among others, as the sources of his inspiration. Some researchers trace analogies even between his works and Neo-Exspressionist “wild” new figuration in Germany in Czapski’s late period. However, in my opinion, Czapski was never entirely an Expressionist, remaining truthful to the traditions of École de Paris, in the first place being under a strong influence of Post-Impressionism of Pierre Bonnard, other Kapists alike. Czapski was therefore an artist focused on purely painterly values; he remained a colourist painter, by following his own individual version of Colourism, he treated it in a non-orthodox way.

15

Czapskiego czytanie André Malraux.

63%

Jarosz A.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

88-103

EN

Józef Czapski’s readings the texts by André Malraux (1901–1977) on aesthetics and art history are among the most important ones. It ef- fected from his physical presence in the Polish artist’s biography. “Reading” Malraux’s works has a very personal explanation. They were both of the same generation – a Polish artist and soldier, and a French writer and politician met in crucial periods of the most modern his- tory of Europe. These personal contacts allowed Czapski to comprehend better Malraux’s views, especially his aesthetic polytheism and a concept of “museum of imagination”. The first meeting of Czapski with Malraux took place in Paris in 1924. Later on, after the war had finished, and Czapski had been sent to Paris by General Władysław Anders, he made a report to Malraux on his knowledge of Soviet Russia. When in 1946 the painter settled down in France, Malraux made big efforts to publish Na nieludzkiej ziemi [The Inhuman Land] in France. He also supported the cause of the endangered seat of Parisian “Kultura” [Culture] monthly in Maisons-Laffitte by writing an open letter concerning the matter in 1954. Their direct contacts were also related with artistic life. In 1952 Malraux visited Czapski’s painting exhibition, and in 1958 he conducted an interview with the artist. Czapski in turn used to read carefully Malraux’s books, paying attention to both literary and cognitive values in the area of thought on arts, noticing at the same time that the latter was adding fiction to reality. Malraux’s quasi-methodological vision of art, his style, as well as cultural and political activity, provoked Czapski in 1952 to write an essay Głosy milczenia [The Voices of Silence] – a sort of polemics with Malraux’s book Les Voix du silence. Just like many other readers Czapski noticed a typical for the Frenchman combination of a novel-like form with an essay or an impression on art and a total departure from an academic discourse. He also noted down the most important issues: Malraux’s contradiction between “the world of quest” and “the world of affirmation” and perceiving an artist as conscious of his starting point, method, will and direction of acting – the force which enables to win historical determinism. Czapski was able to estimate the social aspect of Malraux’s works in the time of the unfinished political and epistemological disputes. The biggest value in the vast considerations of the French writer was, according to the Polish painter, his intui- tive search for truth and its revelations in painting. Czapski however, treated in a rather ambiguous way Malraux’s position as “a demiurge” who decides valuation and applies reproduction – being a forerunner of digital iconography and virtual museum spaces. Malraux with his concepts keeps coming back till presence – in a performance and a film by Dennis Adams (2012), among others.

16

Сборник польской поэзии в русских переводах, составленный Юзефом Чапским в 1942 году: история возникновения, анализ переводов

63%

Biełow I.

Colloquia Litteraria

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2017

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issue 23

PL

“An Anthology of Polish Poetry in Russian Translations”, edited by Józef czapski in 1942, circumstances Surrounding the publication of this Anthology and an Analysis of the TranslationsThis paper deals with An Anthology of Polish Poets edited by Józef Czapski in 1942 in Tashkent, which has not been published yet. The tools of Translation Studies applied here have allowed to analyse the basic translation problems facing the Russian poets when they, on Czapski’s request, translated selected examples of Polish poetry

17

Czytając – próbować się. Praktyki lekturowe Józefa Czapskiego

63%

Gruszczyk T.

Konteksty - Polska Sztuka Ludowa

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2019

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vol. 73

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issue 4 (327)

230-238

PL

Przedmiotem szkicu są praktyki lekturowe Józefa Czapskiego oraz figura czytelnika zawarta w jego tekstach. Wybrane eseje oraz zapiski dziennikowe zostają tu potraktowane jako tekstowe protokoły z pewnego doświadczenia: nieustającego stawania się czytelnika wobec czytanego tekstu. Tym, co szczególne dla czytania Czapskiego, jest jego egzystencjalny wymiar – lektura angażuje bowiem autora Czytając nie tylko intelektualnie, ale też duchowo i życiowo. Czapski-czytelnik wyprowadza utwory spod stałych adresów przypisanych im znaczeń i wprowadza je w życie – aktywuje sensy i sprawdza ich wartość. Tak samo też pozwala tekstom siebie wyprowadzać poza dotychczasowe rozumienie własnego bycia, wyprowadzać poza to, co jest – by siebie odkrywać, zmieniać czy nawet stwarzać. Mierzy się z nimi, ale mierzy także siebie podług nich. Tak rozumiane czytanie (jako doświadczenie czy próbowanie się) w swym rodowodzie sięga do M. de Montaigne’a i jego Prób – i te powinowactwa między innymi zostają w artykule prześledzone.

EN

This sketch deals with Józef Czapski’s reading experiences and the persona of the reader contained in his texts. Selected essays and journal entries have been treated as textual protocols of a certain experience: the incessant process of becoming a reader vis-à-vis the text. The specific feature of the way in which Czapski read was its existential dimension – reading involves the author. By reading not only intellectually but also spiritually Czapski-the reader moved the texts from the constant addresses of the meanings ascribed to them and introduced them into life – he activated meanings and tested their value. In the same fashion he permitted the texts to lead him beyond the heretofore comprehension of his existence, beyond that, which exits, in order to discover, change or even to create himself. He tackled them, but also applied their measure to himself. The origins of a thus comprehended process of reading (i.e. as an experience or a trial) goes back to M. de Montaigne and his Essais – these affiliations too are followed in the article.

18

Listy Józefa Czapskiego do Stanisława Lorentza

55%

Kowalczykowa A., Stanisz M.

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2017

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vol. 12

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issue 7

510-516

EN

In this text six Józef Czapski’s letters to Stanisław Lorentz are published from years 1958-1960 and 1978. These letters concern donating Czapski’s drawings and paintings to the National Museum. One of them includes the painter’s reflections on the subject of his drawing and its importance for him.

19

Praktykowanie uważności i kultura ascezy. O Józefie Czapskim

51%

Popiel M.

Pamiętnik Literacki

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2019

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vol. 110

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issue 4

181-195

PL

Artykuł podejmuje temat uważności jako pojemnego pojęcia funkcjonującego w różnych rejonach kultury i różnych zakresach znaczeniowych. Wskazuję rolę, jaką pełni uważność (mindfulness) w tradycji artystycznej i filozoficznej, a także we współczesnej psychologii rozwoju i kulturze późnego kapitalizmu. Analizuję refleksję nad „praktykowaniem uważności” w twórczości Józefa Czapskiego i Czesława Miłosza. „Dzienniki” Józefa Czapskiego dostarczają bogatego materiału do rekonstrukcji postawy uważności jako kluczowego aspektu egzystencji, działań artystycznych i doświadczeń metafizycznych. Szczególne miejsce w notatkach Czapskiego zajmuje somatyczne ujęcie pracy intelektu i woli. „Praktykowanie uważności” łączy kilka sfer aktywności: intelektualną, duchową, emocjonalną i cielesną. W artykule pragmatyczny aspekt uważności zostaje wyeksponowany przede wszystkim przez umieszczenie go w kręgu problematyki estetyki tworzenia. Zobaczenie uważności w kontekście tradycji „ćwiczeń duchowych” wiedzie ku formule „kultury jako reguły zakonnej” (Ludwik Wittgenstein). Źródłem inspiracji dla współczesnej reinterpretacji idei formowania (Bildung) czy antycznej „troski o siebie” jest publikacja Petera Sloterdijka „Musisz życie swe odmienić. O antropotechnice”. Wykorzystany w niej Rilkeański topos przemiany jest kluczem do koncepcji człowieka i artysty, jaki możemy wyczytać z całego dziedzictwa Józefa Czapskiego.

EN

The article takes up the subject of mindfulness and sees it as a broad concept that functions in various spheres of culture and scopes of meanings. The author points at the role that mindfulness performs in the artistic and philosophical tradition, as well as in the contemporary developmental psychology and late capitalism culture, and also analyses the reflections on “practising mindfulness” in Józef Czapski’s and Czesław Miłosz’s creativity. Czapski’s “Dzienniki” (“Diaries)” offers a rich material for reconstructing the mindfulness stance as a key aspect of existence, artistic creativity and metaphysical experience. A special place in Czapski’s notes is occupied by a somatic approach to the activity of the intellect and the will. “Practising mindfulness” combines several spheres of activity: intellectual, spiritual, emotional, and somatic. In the present article, the pragmatic aspect of mindfulness is prominently displayed in setting it within the domain of issues in aesthetics of creation. Discerning mindfulness in the context of “spiritual exercises” tradition leads to the formula of “culture as a monastic rule” (Ludwig Wittgenstein). A source of inspiration for the contemporary reinterpretation of the idea of forming (Bildung) or ancient “care of oneself” is Peter Sloterdijk’s publication “Du mußt dein Leben ändern” (“You Must Change Your Life).” The Rilkean topos of transformation which it uses is a key to the concept of man and artist that we can infer from the entire Czapski’s heritage.

20

Dzienniki Józefa Czapskiego, szkicowniki Stanisława Rodzińskiego, szkicowniki Bogusława Bachorczyka

51%

Antos J.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2013

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issue 2(28)

114-125

EN

Józef Czapski’s diaries, which were at the time in his room in Maisons-Laffitte near Paris, the seat of Polish-émigré Parisian “Kultura” [Culture] magazine, are at present owned by the National Museum in Krakow in the total number of 273 “notebooks”. Czapski started writing them already before the WW2. The volumes of 1942–1991 have been preserved till now. In majority, they have remained unknown except for very few editions of the elaborated by the author himself “torn-out pages” or recently published reproduced “selected pages”. They combine matching disciplines of literature (an intimate diary) and art (a sketchbook with numerous drawings and watercolour sketches within the text). In comparison with the original, with its exceptional écriture, the previous editions of the selected pieces seem to be unsatisfactory. In the future they will surely exist in an interactive digital form, which offers so many possibilities of joining text with image next to its publication in a shape of a traditional book, which cannot reflect its intermedia character. They will find their place in a new environment and stop having been framed in a Modernist way. Many artists, especially those younger than Czapski, were fascinated with him. After “Thaw” of 1956 and later on in the 1970s and 1980s, some of the artists living in Poland did have a chance of seeing his diaries while visiting Czapski in Maisons-Laffitte. The example of Czapski’s diaries influenced a few of them, who decided to give a character of a diary to their own sketchbooks. A friend of Czapski, Stanisław Rodziński (b. 1940) has been keeping his sketchbooks and a sort of intimate diaries at the same time, in their current shape since 1976. Bogusław Bachorczyk (b. 1969), younger than the latter, who has never happened to meet Czapski in person, has already reached 45 volumes. Czapski’s diaries are a complete work, still the sketchbooks inspired by his diary-like pieces, created in characteristic “handwriting” of their authors, are in a certain sense Czapski’s diaries extension.

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Księgozbiór Józefa i Marii Czapskich w Bibliotece Muzeum Narodowego w Krakowie. Komunikat

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Czy Czapski był dobrym kolorystą? Malarstwo Józefa Czapskiego wobec doktryny estetycznej K. P.

Czapskiego czytanie André Malraux.

Сборник польской поэзии в русских переводах, составленный Юзефом Чапским в 1942 году: история возникновения, анализ переводов

Czytając – próbować się. Praktyki lekturowe Józefa Czapskiego

Listy Józefa Czapskiego do Stanisława Lorentza

Praktykowanie uważności i kultura ascezy. O Józefie Czapskim

Dzienniki Józefa Czapskiego, szkicowniki Stanisława Rodzińskiego, szkicowniki Bogusława Bachorczyka