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1

L’image de la mort ou l’histoire d’une sensibilité. Charlotte de David Foenkinos

100%

Żurawska A.

Quêtes littéraires

|

2015

|

issue 5

213-221

FR

The aim of the article is to examine the figure of an artist in the novel Charlotte by David Foenkinos. With his text, he desires to pay homage to Charlotte Salomon, a Jewish painter murdered at age twenty-six in Auschwitz. The Salomon’s biography and works became famous thanks to the novel by Foenkinos. The great merit of his book is to make the painter recognizable to a wide public. The interpretation of the text in which central figure is a painter should include a question about the generic status of the novel, thus the reflection about the Künstlerroman, and about the status of the image in the text, the narrative processes used to make the text more plastic, the ekphrasis, etc. The problem seems interesting because Charlotte does not correspond with the traditional definition of the Künstlerroman. The narrator refers the reader to the extradégétique reality in order to make a connection between the reader and Charlotte’s painting; therefore, he focuses his story on the conception of the image and not on the image itself.

2

Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch

85%

Pollock G.

Text Matters: A Journal of Literature, Theory and Culture

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2017

|

issue 7

114-144

EN

This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche.

3

Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch

85%

Pollock G.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

114-144

EN

This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche.

4

Die Kunst als Refugium der Selbstrettung und Selbstfindung. Das Lesen und Verstehen von Charlottes Salomon autobiographischen Werk Leben? oder Theater?

70%

Wawrzynek K. A.

Acta Universitatis Lodziensis. Folia Librorum

|

2022

|

vol. 2

|

issue 35

133-152

EN

The aim of this article is to show, in which way art can be used as an instrument, of self-conquest, self-finding and self-rescue as not to be forgotten by creating the appropriate distance, saving us from brutality and severity of reality and given times in which we live. The example of the Jewish artist Charlotte Salomon of approximately 1325 painted sheets, from which 769 represent her biographic-historical masterpiece Life? or Theatre? A song play. It illustrates like a play in the form of a storyboard in word and picture her quite short life, her childhood and adolescence in the times of Weimar Republic, her antisemitic experiences at the Academy of Art, the machinery of the Nazi regime. She created her series of paintings over the duration of approximately eighteen months between 1940 and 1942. Salomon intertwined factual details from the memory of her childhood and adolescence and exile life. It is a reenactment, a conflation that raises compelling questions about the formation and operation of memory, showing both sides: the traumatic memory of the tragic family history and the present historical events of the Second World War, which she experienced and witnessed by herself. Charlotte Salomon created a multimedia work by combining colour, literature and music in an expressionistic way, using techniques from painters like van Gogh, Chagall, Munch and Nolde, to visualize in form of comics and musical settings, consisting of the chosen palette of music pieces from classical music to modern pop songs. Her complex drama is divided into three parts in a prologue; a main part and an epilogue like a theatre play. Her work is nothing else as a synthetic depiction of life and unfulfilled love, suffering and death, created to survive. This intention of Charlotte Salomon confirms especially her own words, of the last gouache from the postscript on her back: Life? or Theatre?

PL

Celem poniższego artykułu jest zaprezentowanie sposobu w jaki sztuka może posłużyć jako skuteczny środek do przezwyciężenia, odnalezienia i ocalenia samego siebie, by nie ulec zapomnieniu. Sztuka potrafi tworzyć swoisty dystans, chroniący nas przed brutalnością i surowością rzeczywistości wczasach w których nam dano żyć. Arcydzieło autobiograficzno-historyczne Życie? czy teatr? Śpiewogra pochodzącej z asymilowanej rodziny żydowskiej Charlotte Salomon, składa się z 1325 zamalowanych kartek, z których 769 są treści biograficznej. Dzieło, którego struktura przypomina sztukę teatralną w formie scenorysu w słowie i obrazie, opisuje krótkie życie autorki: jej dzieciństwo, młodość w Republice Weimarskiej, jej doświadczenia antysemityzmu w Akademii Sztuk Pięknych i machinę reżimu nazistowskiego. W latach 1940 do 1942, na przestrzeni 18 miesięcy, Charlotte Salomon stworzyła serię obrazów, które odzwierciedlają faktyczne szczegóły z jej historii rodzinnej, dzieciństwa, młodości i życia na wygnaniu z aktualnymi wydarzeniami historycznymi, których jest świadkiem. W ten sposób autorka pokazuje obie strony: tragiczną historię rodzinną i historię aktualnych wydarzeń historycznych II wojny światowej, których jest świadkiem. Salomon łączy w swojej pracy w ekspresjonistyczny i modernistyczny sposób barwę, literaturę i muzykę, tworząc dzieło multimedialne. Używa takich technik malarskich jak van Gogh, Chagall, Munch czy Nolde, które służą wizualizacji. Obrazy o charakterze komiksu opatrzone są niejednokrotnie fragmentami muzycznymi od muzyki klasycznej do nowoczesnej. Jej dramat składa się z trzech części: z prologu, części głównej i epilogu. Jej kompleksowe i wielowarstwowe dzieło jest niczym syntetyczny, szczegółowy opis życia, niespełnionej miłości, cierpienia i śmierci. Stworzone by przetrwać. Tą intencję potwierdza także postscriptum utrwalone na ostatnim gwaszu na jej plecach: „Życie? czy teatr?”

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2 Text Matters: A Journal of Literature, Theory and Culture

1 Acta Universitatis Lodziensis. Folia Librorum

1 Quêtes littéraires

2 Pollock G.

1 Wawrzynek K. A.

1 Żurawska A.

1 2022

2 2017

1 2015

L’image de la mort ou l’histoire d’une sensibilité. Charlotte de David Foenkinos

Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch

Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch

Die Kunst als Refugium der Selbstrettung und Selbstfindung. Das Lesen und Verstehen von Charlottes Salomon autobiographischen Werk Leben? oder Theater?