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1

Stracone gniazdo. Norwid – Szermentowski

100%

Chlebowska E.

Studia Norwidiana

|

2016

|

vol. 34

81-99

EN

This article is an interpretative attempt of the forlorn drawing made by Norwid in the mid-1770s, entitled Scena symboliczna [A symbolic scene] (also known as Aniołowie smierci [Angels of Death]). The drawing relates to a painting by Józef Szermentowski, entitled Stracone gniazda [The Lost Nests] (1865), which presented a gloomy vision of a village in the region of Kielce and which was an allegory of the defeat of the Polish nation after the collapse of the January Uprising. The comparative analysis of both depictions allows pinpointing the interdependences between the two works, which shed more light on the meaning of Norwid’s highly enigmatic composition. The analysis also takes into account the personal relationship between the two artists, who came close in Szermentowski’s late days. The article pursues three potential interpretation paths, relying on the assumption that Norwid was inspired by the younger colleague’s work. Yet, none of the three is pinpointed as privileged so that, ultimately, the question of the topic of Norwid’s depiction remains open. It is observed, at the same time, that Scena symboliczna is a regular example of Norwid’s scarce plastic legacy in that it favours literary values over plastic mastery. The work shows evident tensions of senses and meanings, which cannot be either satisfactorily or satisfyingly conveyed via the drawing techniques employed by Norwid.

2

Lost nest. Norwid – Szermentowski

100%

Chlebowska E.

Studia Norwidiana

|

2016

|

vol. 34 English Version

81-99

EN

This article is an interpretative attempt of the forlorn drawing made by Norwid in the mid-1770s, entitled Scena symboliczna [A symbolic scene] (also known as Aniołowie smierci [Angels of Death]). The drawing relates to a painting by Józef Szermentowski, entitled Stracone gniazda [The Lost Nests] (1865), which presented a gloomy vision of a village in the region of Kielce and which was an allegory of the defeat of the Polish nation after the collapse of the January Uprising. The comparative analysis of both depictions allows pinpointing the interdependences between the two works, which shed more light on the meaning of Norwid’s highly enigmatic composition. The analysis also takes into account the personal relationship between the two artists, who came close in Szermentowski’s late days. The article pursues three potential interpretation paths, relying on the assumption that Norwid was inspired by the younger colleague’s work. Yet, none of the three is pinpointed as privileged so that, ultimately, the question of the topic of Norwid’s depiction remains open. It is observed, at the same time, that Scena symboliczna is a regular example of Norwid’s scarce plastic legacy in that it favours literary values over plastic mastery. The work shows evident tensions of senses and meanings, which cannot be either satisfactorily or satisfyingly conveyed via the drawing techniques employed by Norwid.

3

Lost nest. Norwid – Szermentowski

99%

Chlebowska E.

Studia Norwidiana

|

2016

|

vol. 34 English Version

81-99

EN

This article is an interpretative attempt of the forlorn drawing made by Norwid in the mid-1770s, entitled Scena symboliczna [A symbolic scene] (also known as Aniołowie smierci [Angels of Death]). The drawing relates to a painting by Józef Szermentowski, entitled Stracone gniazda [The Lost Nests] (1865), which presented a gloomy vision of a village in the region of Kielce and which was an allegory of the defeat of the Polish nation after the collapse of the January Uprising. The comparative analysis of both depictions allows pinpointing the interdependences between the two works, which shed more light on the meaning of Norwid’s highly enigmatic composition. The analysis also takes into account the personal relationship between the two artists, who came close in Szermentowski’s late days. The article pursues three potential interpretation paths, relying on the assumption that Norwid was inspired by the younger colleague’s work. Yet, none of the three is pinpointed as privileged so that, ultimately, the question of the topic of Norwid’s depiction remains open. It is observed, at the same time, that Scena symboliczna is a regular example of Norwid’s scarce plastic legacy in that it favours literary values over plastic mastery. The work shows evident tensions of senses and meanings, which cannot be either satisfactorily or satisfyingly conveyed via the drawing techniques employed by Norwid.

4

Chełmoński i socrealizm

85%

Okoń W.

Biuletyn Historii Sztuki

|

2014

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vol. 76

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issue 4

691-701

EN

The Author analyses the image of Józef Chełmoński’s oeuvre as shaped by artistic criticism over the period of Socialist Realism in 1949-56. The leading role in the process can be attributed to ‘Przegląd Artystyczny’, an official magazine of the State Institute of Art and Association of Polish Artists, published in Cracow. However, judging on the grounds of a number publications over the period, Chełmoński was not as strongly promoted by the followers of Socialist Realism as, for example, Jan Matejko, since ‘pure landscape’ which he cultivated, particularly in the latter period, never matched the ideology claiming that paintings should feature a human ‘consciously transforming nature’, this shown in the spirit of ‘critical realism’. The painter of the Indian Summer, though included in the circle of artists close to ‘realism’ in art, was never as highly appreciated as, for instance, Józef Szermentowski or Aleksander Kotsis, which may have resulted from Chełmoński’s excessively strong, as judged at the time, bond with the national and patriotic traditions, while not with the tendencies of supranational ‘social criticism’.

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Stracone gniazdo. Norwid – Szermentowski

Lost nest. Norwid – Szermentowski

Lost nest. Norwid – Szermentowski

Chełmoński i socrealizm