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A State of Latent Life: The Paintings of Olga Boznańska

100%
Rosales Rodriguez A.
Ikonotheka
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2015
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vol. 25
201-218
EN
Olga Boznańska’s painting is the epitome of a new approach to the physical matter of painting, refl ecting the late nineteenth-century myth of the organic communion of work and life. The artist herself declared her art as honest and true, devoid of any affectation; she left many paintings and photographs depicting herself as a professional in the process of working, in the studio. Although Boznańska spent most of her life in Paris and was inspired by the Impressionists and les Nabis, her formation took place in Munich. Her years of education and fi rst steps in artistic practice in the capital of Bavaria were decisive not only in the matter of the workshop or skills of the talented painter, but also in the matter of her aesthetic attitude. Boznańska’s close relationship with the visual culture of Munich and the essential role of this artistic centre in her career were usually underestimated and dominated by Paris. Boznańska admired the oeuvre of the great German colourist Wilhelm Leibl, and at the exhibitions she could follow many other contemporary German realists and impressionists. It was Leibl who proclaimed the ethos of “honest painting” (echte Malerei), considered as “the beautiful craft”. The circle of painters that was concentrated around him fulfi lled this concept of autonomic art – Reinmalerei, of painting portraits, still lifes and genre scenes. Olga Boznańska must have been infl uenced by the ideas and the painterly effects of the German artists and their American followers, such as Frank Duveneck. She shared with them the same quest for the subtle gradations of colour and explored the potentialities of paint as a material. This approach to technique was ennobled by the German theory of art (Wilhelm Trübner, Carl Schuch), which was the basis for the metaphysical concept of painting. The visual effects of Boznańska’s works are close to those of Munich art at the borderline between realism and expressionism. Her fascination with visuality led her to an original expression of spirituality.
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Olga Boznańska and Marian Morelowski Read Michel Foucault

100%
Sosnowska J. M.
Ikonotheka
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2015
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vol. 25
219-231
EN
Michel Foucault, in his famous 1971 lecture concerning Edward Manet’s paintings, focused on three problems: the space of the painting, the lighting and the position of the viewer. At the beginning of the 1890s, i.e. at the beginning of Olga Boznańska’s creative path, the connection between the paintings of the young Polish artist and the works of Manet had already been noticed. A clear concentration on problems which Foucault pointed out in Manet was observed in her paintings precisely at this time. This fascination with Manet faded in a later period; nonetheless the infl uence of the French artist was an important experience in Boznańska’s development of her unique and individual style. Boznańska’s paintings, created under the infl uence of Manet, represent a clear stage in the development of her own creativity.
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Goście w pracowni Olgi Boznańskiej: Viktor E. von Gebsatteli i Alfred Wickenburg z Paulą Mordersohn-Backer w pobliżu

87%
Kudelska D.
Roczniki Humanistyczne
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2021
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vol. 69
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issue 4
269-284
EN
Alfred Wickenburg, in his unpublished Memoirs, briefly describes a visit to Olga Boznańska’s studio in 1907, where he was brought by Vincent E. Gebsattel, the pioneer of the theory of perception based on the correlation of time and memory and an analysis of aesthetic impressions, and who was fascinated by her work. Boznańska is presented in the text among such figures as Kessler, Vollard, Gide, Bonnard, Rodin and Rilke. Wickenburg mentions his visiting Cézanne’s exhibition with Rilke, and the special role played by Paula Modersohn-Becker, who was Rilke’s guide to Cézanne’s earlier exhibitions. He also suggests that Boznańska was befriended by Modersohn-Becker, a fact not mentioned in any of the literature on the subject. I have established, however, that the two woman painters lived in the same building at Montparnasse 49 at the turn of 1906/1907. It is not known whether they were friends, but their contact with each other seems probable. It can be inferred from Modersohn-Becker’s own papers that this possibility existed for a period of at least four months, and maybe for as long as seven. Wickenburg’s Memoirs are one example of Boznańska’s undervalued artistic and intellectual contacts outside of the Polish-French circle.
PL
Alfred Wickenburg w niepublikowanych Wspomnieniach krótko opisuje wizytę w pracowni Olgi Boznańskiej (1907), gdzie przyprowadził go Vincent E. Gebsattel, pionier teorii percepcji opartej o korelację czasu i pamięci oraz analizę wrażeń estetycznych. Gebsattel był zafascynowany twórczością malarki, która pojawia się w tekście wśród takich postaci, jak Kessler, Vollard, Gide, Bonnard, Rodin, Rilke. Wickenburg wspomina o zwiedzaniu wystawy Cézanna z Rilkem, a także o szczególnej roli Pauli Modersohn-Becker, która była przewodnikiem poety po wcześniejszych wystawach mistrza. Przy tej okazji wzmiankuje, że Boznańska przyjaźniła się z Becker, o czym nie ma mowy w literaturze przedmiotu. Ustaliłam, że malarki mieszkały na przełomie 1906/1907 przy Montparnasse 49. Nie wiadomo, czy się przyjaźniły, ale ich kontakt w drodze do mieszkań-pracowni jest prawdopodobny. Z dokumentów Becker wynika, że na pewno miały na to cztery, a być może nawet siedem miesięcy. Wspomnienia Wickenburga są jednym z wielu przykładów niedocenianych kontaktów artystycznych i intelektualnych Boznańskiej spoza kręgu polsko-francuskiego.
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PORTRET MĘŻCZYZNY OLGI BOZNAŃSKIEJ. KONSERWACJA I RESTAURACJA OLEJNEGO OBRAZU NA PODŁOŻU TEKTUROWYM

63%
Zając I.
Ochrona Zabytków
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2003
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issue 3-4
87-93
EN
The Portrait of a Man by Olga Boznańska found its way to Poland from one of the London auction houses. The crumbling painting layer, the impurities and the dented cardboard base were caused by unsuitable storage. This situation called for immediate conservation. The first stage consisted of photographic documentation and an analysis of the painted layer binding and the composition of the layer used for gluing the cardboard. After gluing the crumbling painted layer the conservators embarked upon cleaning it and the reverse. Research intent on defining the state of the preservation of the cardboard base was conducted, and the base was reinforced and deacidifed. The painting in the cardboard passepartout was placed behind glass into the same frame which was used prior to conservation. Olga Boznańska was born on 15 April 1865 in Cracow. She studied painting in Cracow and Munich, and presented her works at exhibitions and salons held in Cracow, Warsaw, Munich, Vienna, London, Paris, Pittsburgh, Philadelphia and Venice, winning numerous prizes and distinctions. Since 1898 she lived in Paris where she died on 26 October 1940.
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Ubiór czy kostium? Rola mody w malarstwie i życiu Olgi Boznańskiej

51%
Straszewska A.
TECHNE. Seria Nowa
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2021
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issue 7
59-90
EN
In Olga Boznańska’s portrait painting, clothes necessarily play an important role, and in her paintings one can trace changes in fashion, especially women’s fashion, over the course of fifty years. This does not mean, however, that the artist was an impartial documentalist of the surrounding reality and a recorder of the manner in which her models were dressed. Formed by the artistic milieu in Munich, she knew perfectly well the methods of working with costumes practiced there and the principles of historical painting adjusting the costume to the adopted style inspired by the works of the former master. However, she quickly rejected the burden of historical references, without giving up, however, minor or major interference with the portrait of the person portrayed, which was confirmed by her contact with the works of James Abbott McNeill Whistler. The analysis of her portraits allows us to trace how she used clothes to reveal the model’s personality, but above all, to achieve the intended formal effects, treating the clothes as inspiration and a pretext for studying color nuances. For this purpose, she often used pinned up and draped fabrics, shawls, scarves or furs, with which she gave the painted clothes the character of an ephemeral painting costume. Her own, more and more old-fashioned clothes could not only be a testimony to the deepening depression and financial problems, but rather served to emphasize the artist’s dedication to art and the special status of the artist by renouncing temporal life and the traditional role assigned to women, whose status was determined especially by fashionable clothes. and impeccable appearance.
PL
W malarstwie portretowym Olgi Boznańskiej siłą rzeczy ubiór odgrywa istotną rolę, a na jej obrazach można prześledzić zmiany w modzie, zwłaszcza kobiecej na przestrzeni pięćdziesięciu lat. Nie znaczy to jednak, że artystka była bezstronną dokumentalistką otaczającej rzeczywistości i rejestratorką sposobu ubierania swoich modeli i modelek. Ukształtowana przez środowisko artystyczne w Monachium doskonale znała praktykowane tam metody pracy z kostiumem i zasady malarstwa historycznego dostosowującego kostium do przyjętej stylistyki zainspirowanej twórczością dawnego mistrza. Szybko jednak odrzuciła balast odniesień historycznych nie rezygnując jednak z mniejszych lub większych ingerencji w strój osoby portretowanej w czym utwierdziło ją zetknięcie z twórczością Jamesa Abbotta McNeilla Whistlera. Analiza jej portretów pozwala prześledzić, w jaki sposób posługiwała się ubiorem dla wydobycia osobowości modela, ale przede wszystkim by uzyskać zamierzone efekty formalne, traktując stroje jako inspirację i pretekst dla studiowania niuansów barwnych. W tym celu często posługiwała się upinanymi i drapowanymi tkaninami, szalami, chustami, czy futrami, za pomocą których nadawała malowanemu ubiorowi charakter efemerycznego kostiumu malarskiego. Również jej własny coraz bardziej staroświecki ubiór mógł stanowić nie tylko świadectwo pogłębiającej się depresji i problemów finansowych, a raczej służył podkreśleniu poświęcenia sztuce i szczególnego statusu artystki poprzez wyrzeczenie doczesnego życia i związanej z tym tradycyjnej roli przypisanej kobietom, których status w szczególny sposób determinowały modne stroje i nienaganny wygląd.
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