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Requiem aeternam, Fryz życia i Piekło. Przybyszewski, Munch, Vigeland i preekspresjonistyczna teoria sztuki.

100%
Głuchowska L.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2010
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issue 2(16)
26-54
EN
Celebrated in Berlin for his ambiguous fame of ‘a genious Pole’ and ‘a King of Bohemia’, a Polish-German writer Stanisław Przybyszewski was the first to promote consistently the work of Edvard Munch and his native sculptor Gustav Vigeland. His essays Das Werk des Edvard Munch (1894) and Auf den Wegen der Seele/On the Roads of the Soul (1897/ 1900) indicated the starting point for their artistic successes, becoming at the same time the first theory of Expressionism. Also in the initial sentence of a rhapsody Totenmesse/Requiem Aeternam (1893/1904) – ‘In the beginning was the lust’ – by replacing ‘word’, Logos with ‘lust’/’kind’ Przybyszewski indicated despondency in the overall power of language and rationality together with belief in the prime of irrational sources of existence and creation. The literary and biographical legend pushed him into a cabinet of curiosities, muf- fling the objective judgment of his achievements. Sometimes the critics treated his interpretations of works by Norwegian authors as an anticipation of their creative development, or even as compensation of some shortages in their works. Some others claimed that he allowed himself an over-interpretation by popularising views which were more relevant to his own ideology – a mythology of sex struggle, theory of a na- ked soul or satanism – than to the artists’ visions. The very artists, however, con- firmed rightness of the writer’s interpretational intuition. Przybyszewski played also the role of a strategic impresario of both of the Norwegians, soliciting to sell their works in Berlin and to organise Munch’s exhibitions in Warsaw (1903) and Prague (1905). He promoted their achievements as well as fashion for Scandinavia as a correspondent-advisor of ‘Moderní Revue’ – a journal edited in Prague, and later as an editor-in-chief of ‘Życie’ journal issued in Cracow. Przybyszewski’s essays on Munch and Vigeland’s works, translated into many languages, enabled their successes in all Central and Eastern Europe. Przybyszewski’s Requiem aeternam/ Totenmesse, just like Munch’s Frieze of Life or Vigeland’s Hell are catalysts of tragic, catharsis-like experiences of the epoch. The common feature of all these works is their narrative, Proto Expressionist and Proto Avant-Garde character. Regarding their style and the motifs which they made common, the artists create a synesthetic Gesamtkunstwerk, which breaks borders between genres, one of the most important aesthetic-ideological manifestoes of the turn of the 19th century. Przybyszewski’s playwriting and literary oeuvre, both in Polish and German, has been praised in the recent years. However, the reconstruction of his achievements in the field of art theory and critics, as well as his role of a mediator in the cultural dialogue from Scandinavia to the Balkans, still deserve thorough international and interdisciplinary research.
2
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Francisco Goya, Vincent van Gogh, Edvard Munch - świat urojony w twórczości wybitnych artystów malarzy

89%
Lebowa W.
Sztuka Leczenia
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2020
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vol. 35
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issue 2
73-84
EN
Francisco Goya, Vincent van Gogh and Edvard Munch – romanticism, impressionism and expressionism, were outstanding painters whose most famous paintings are known all over the world. They owe their success to courageous breaking patterns in artistic terms. All three characters are connected by painting and madness. Van Gogh suffered from schizophrenia, panic attacks and obsessions. He was struggling with tobacco and alcohol abuse. Munch was affected by depression and neurotic disorders, mental illness also occurred in his family. Both were treated in psychiatric hospitals. Goya underwent a stroke and at the end of his life he was completely deaf. He isolated himself from the world within the walls of his estate. In addition, all three artists were constantly exposed to lead poisoning and paint fumes. Both mental and organic diseases left their mark on their work and should be an integral element in the interpretation of their works.
PL
Francisco Goya, Vincent van Gogh i Edvard Munch (romantyzm, impresjonizm i ekspresjonizm) to wybitni malarze, których najsłynniejsze obrazy znane są na całym świecie. Sukces zawdzięczają odważnemu przełamywaniu schematów na gruncie artystycznym. Wszystkie trzy postacie łączy malarstwo oraz szaleństwo. Van Gogh cierpiał na schizofrenię, ataki paniki i manii prześladowczej. Zmagał się z nadużywaniem tytoniu i alkoholu. Munch był dotknięty przez depresję i zaburzenia nerwicowe, choroby psychiczne występowały również w jego rodzinie. Obaj leczyli się w szpitalach psychiatrycznych. Z kolei Goya przeszedł udar mózgu, a pod koniec życia, całkowicie głuchy, odizolował się od świata w murach swojej posiadłości. Ponadto wszyscy trzej byli stale narażeni na zatrucie ołowiem oraz oparami farb. Zarówno choroby psychiczne, jak i organiczne odcisnęły piętno na ich twórczości i powinny stanowić integralny element interpretacji ich dzieł.
3
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Kvindelige arketyper og kompositorisk sammensmeltning. Om nogle paralleller mellem Blixens fortælling ”De standhaftige slaveejere” og Munchs piktoriale model

89%
Stahr R.
Folia Scandinavica Posnaniensia
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2022
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vol. 32
4-18
EN
This article analyses the hitherto unexplored influence of Edvard Munch on Karen Blixen's work. Blixen was a great connoisseur of art and can therefore be assumed to have known Munch's work. In the short story “De standhaftige slaveejere” we find several parallels to the so-called “Munch's pictorial model”, i.e. a set of common features of his work (specifically his expressionist phase). Most striking is the similarity of the characters to those in Munch's painting Kvinden i tre stadier, which Blixen adopts both in terms of their appearance and their archetypal roles. She is particularly inspired by the colour connotations associated with the characters portrayed in the painting, and creates the figure of a beautiful and innocent girl in a white dress accompanied by an ascetic governess in black. Even the male character in Blixen's short story recalls Munch's archetype of the weak, melancholic man who is about to be destroyed by women. We also find a significant parallel in relation to the typical composition in Munch's paintings, where the individual figures are merged into one. Blixen makes use of this composition in the concrete description of the figures in her story; at the same time, on an abstract level, it is possible to interpret both figures as one multidimensional figure.
4
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Ruch: kinowość w malarstwie i literaturze

76%
Bal M., Lipiński F.
Artium Quaestiones
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2020
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issue 1
277-311
EN
Translation of Mieke Bal's chapter into Polish 
5
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Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch

75%
Pollock G.
Text Matters: A Journal of Literature, Theory and Culture
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2017
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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.
6
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Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch

75%
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.
7
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Ewa Partyga «Ibsenowskie konstelacje. Ćwiczenia w patrzeniu i czytaniu». Instytut Sztuki Polskiej Akademii Nauk, Warszawa 2016

71%
Sokół L.
Pamiętnik Teatralny
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2018
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vol. 67
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issue 1/2
216-225
EN
Ewa Partyga’s Ibsenowskie konstelacje (Ibsen in Constellations) present the work of Ibsen in various literary, artistic, and philosophical contexts. Perhaps the most brilliant of them belong to the visual constellations, in which the author tackles the relationships between Ibsen and Munch, “Ibsen in the theatre of photography” and “photography in Ibsen’s dramas”, as well as the relationship between Ibsen, Munch, and Vilhelm Hammershøi. The philosophical constellations consist of only to essays. The first uncovers some striking parallels between Ibsen as the author of The Master Builder and Nietzsche as the author of On the Genealogy of Morality. The second text is equally important, because it deals with Ibsen and Kierkegaard with a view to metatheatricality. The Scandinavian and Young Polish constellations focus on the problem of reception of Ibsen’s work in the drama and theatre of Scandinavia and Poland respectively. Partyga examines the problem of Ibsen’s presence in Ingmar Bergman’s theatre; it is the first Polish study on the topic. The Young Polish constellations bring important revisions of Polish myths about Ibsen. A full reception of his oeuvre that encompasses modern translations, artistically rich theatre reception, as well as truly competent theatre and academic criticism in conjunction with a deep audience response has only just begun in Poland. The book Ibsenowskie inspiracje is a part of this new wave and it is an outstanding one.
PL
Ibsenowskie konstelacje Ewy Partygi prezentują dzieło Ibsena w perspektywie jego związków literackich, artystycznych, filozoficznych. Bodaj najbłyskotliwsze są konstelacje wizualne, w których rozpatruje relacje Ibsena i Muncha, Ibsena „w teatrze fotografii” i fotografię w dramatach Ibsena, wreszcie relację Ibsen – Munch – Vilhelm Hammershøi. Konstelacje filozoficzne obejmują tylko dwa teksty, z których pierwszy prezentuje niezwykłe paralele między Ibsenem jako autorem "Budowniczego Solnessa" i Nietzschem jako autorem "Z genealogii moralności". Drugi z tekstów jest równie odważny, gdyż dotyczy Ibsena i Kierkegaarda w perspektywie metateatralności. Konstelacje skandynawskie i młodopolskie prezentują problem recepcji Ibsena w dramacie i teatrze skandynawskim i polskim. Książka Ewy Partygi podnosi problem obecności Ibsena w teatrze Ingmara Bergmana; jest to pierwsze studium polskie na ten temat. Konstelacje młodopolskie zawierają istotne rewizje polskich mitów ibsenowskich. Pełna recepcja jego dzieła, obejmująca nowoczesne przekłady, artystycznie bogaty odbiór teatralny, naprawdę fachową krytykę teatralną i akademicką, głęboki rezonans widowni zaczęły się niedawno albo właśnie się zaczynają. Ibsenowskie konstelacje należą do tej nowej fali i są książką wybitną.
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