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„Obrazy są jak kwiaty, ideałem, zamkniętym w linie i kolory”. Wiktora Gomulickiego wypowiedzi o sztuce ikonicznej

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Olkusz W.

Studia Slavica

2014

vol. 18

issue 2

11-26

This article deals with the essayist and critical work by Wiktor Gomulicki who is best known for his literary fiction and poetry, as well as literary criticism, essays on history, and a rich collection of varsaviana. It is, however, less known that he was a keen observer of the changes which the Polish painting was undergoing at that time. He took part in the four most important debates of the day: “on the identity of national art”, “advocates of idealism versus advocates of realism”, “the episode of Warsaw impressionism”, “dispute about the values of symbolic and proto-expressionist art.” In each of them, Gomulicki unwaveringly expressed his favour for the superior role of “the idea” in painting, which translated into his adverse view of realist-naturalist tendencies and impressionism, while at the same time he supported academic idealist painting and, later, symbolism – whose traces he found in Władysław Podkowiński’s work. Gomulicki’s views on art are expressed in a number of literary forms (such as reports from exhibitions, reviews, polemics, whistle-blowing features) and characterised by the opalescence of function (from postulation to operation to cognition and assessment), cycle grouping, and the so-called literary style of reception, consisting in “reading” a painting as if it were a novel, with the “story” taking precedence over the “form.

MARIUSZ HERMANSDORFER (1940–2018)

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Ratajczak M.

Muzealnictwo

2018

vol. 59

219-222

Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the Museum of Current Art, which at the time was getting ready for its opening. There he worked together with Jerzy Ludwiński, one of their achievements being the memorable Fine Arts Symposium Wrocław ’70, and was engaged in the activity of the Mona Lisa Gallery run by Ludwiński. He returned to the National Museum in 1972, and became a custodian of the contemporary art department up to his retirement in 2013. There he created, starting practically from scratch, one of the best collections of Polish contemporary art in the country, abundant in works of such artists as Magdalena Abakanowicz, Tadeusz Brzozowski, Edward Dwurnik, Józef Gielniak, Władysław Hasior, Józef Hałas, Maria Jarema, Jerzy Kalina, Tadeusz Kantor, Jan Lebenstein, Natalia LL, Jerzy Nowosielski, Jerzy Rosołowicz, Jonasz Stern, Jan Tarasin and many others. The predominant artists of this collection were those of metaphor and expression. From the mid-1970s he was a curator of Polish presentations at international art festivals – in Cagnessur- Mer, São Paulo and New Delhi. He used to organise exhibitions from museum collections in Germany, Great Britain, the United States and the Netherlands. As an art critic he was writing mainly for the monthly “Odra”; in 1990 he became a member of its Editorial Board. The writings of Mariusz Hermansdorfer can also be found in catalogues and scholarly publications of the National Museum in Wrocław.

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„Obrazy są jak kwiaty, ideałem, zamkniętym w linie i kolory”. Wiktora Gomulickiego wypowiedzi o sztuce ikonicznej

MARIUSZ HERMANSDORFER (1940–2018)