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Od sztuki do życia i z powrotem. Wizyta Prousta w Jeu de Paume

100%
Renzi L.
Poznańskie Studia Polonistyczne. Seria Literacka
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2015
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issue 26
279-295
EN
The article is an attempt at analysing the biographical episode which inclined Proust to rework Bergotte’s death in In Search of Lost Time. Renzi shows how literature (or more generally: art) and life intertwine. By analysing fragments of Proust’s famous novel as well as his records and letters, the author presents the French writer as an avid fan of Vermeer’s paintings. He also touches upon the history of the influence of the Dutch painter on Proust’s works.
2
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Vermeer: Interruptions, Exclusions, and ‘Imagining Seeing’

87%
Wilder K.
Estetika: The Central European Journal of Aesthetics
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2015
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vol. 52
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issue 1
38-60
EN
This article proposes an essential interrelatedness of Vermeer’s strategies of inclusion and exclusion of an implied beholder. I will argue that such strategies mutually reinforce each other, to the extent that the plausibility of one is arguably dependent upon the possibility of the other. This is evidenced by Vermeer’s subtle manipulations of pictorial space, and the article traces a decisive shift in his familiar use of barriers (repoussoir) from those aimed at an external presence to those oriented towards an internal beholder. The feasibility of this interdependence rests upon a theory of imaginative engagement with paintings that can accommodate both an internal beholder and the felt lack of occupancy of the imagined situation’s point of view. I argue that the Dependency Thesis, as set out by M. G. F. Martin, can provide plausibility for both kinds of imaginative engagement with paintings, when sensory imagination is conceived as an instance of imagining seeing. These engagements exploit the notorious emptiness of imagination’s necessarily perspectival point of view.
3
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Admiration in Place of Imitation: Four Medallions by Gustaw Herling-Grudziński

87%
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.
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