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Dzienniki Józefa Czapskiego, szkicowniki Stanisława Rodzińskiego, szkicowniki Bogusława Bachorczyka

100%

Antos J.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

2013

issue 2(28)

114-125

Józef Czapski’s diaries, which were at the time in his room in Maisons-Laffitte near Paris, the seat of Polish-émigré Parisian “Kultura” [Culture] magazine, are at present owned by the National Museum in Krakow in the total number of 273 “notebooks”. Czapski started writing them already before the WW2. The volumes of 1942–1991 have been preserved till now. In majority, they have remained unknown except for very few editions of the elaborated by the author himself “torn-out pages” or recently published reproduced “selected pages”. They combine matching disciplines of literature (an intimate diary) and art (a sketchbook with numerous drawings and watercolour sketches within the text). In comparison with the original, with its exceptional écriture, the previous editions of the selected pieces seem to be unsatisfactory. In the future they will surely exist in an interactive digital form, which offers so many possibilities of joining text with image next to its publication in a shape of a traditional book, which cannot reflect its intermedia character. They will find their place in a new environment and stop having been framed in a Modernist way. Many artists, especially those younger than Czapski, were fascinated with him. After “Thaw” of 1956 and later on in the 1970s and 1980s, some of the artists living in Poland did have a chance of seeing his diaries while visiting Czapski in Maisons-Laffitte. The example of Czapski’s diaries influenced a few of them, who decided to give a character of a diary to their own sketchbooks. A friend of Czapski, Stanisław Rodziński (b. 1940) has been keeping his sketchbooks and a sort of intimate diaries at the same time, in their current shape since 1976. Bogusław Bachorczyk (b. 1969), younger than the latter, who has never happened to meet Czapski in person, has already reached 45 volumes. Czapski’s diaries are a complete work, still the sketchbooks inspired by his diary-like pieces, created in characteristic “handwriting” of their authors, are in a certain sense Czapski’s diaries extension.

Malarstwo religijne i sakralne Stanisława Rodzińskiego

38%

Krasucka B.

Roczniki Humanistyczne

2014

vol. 62

issue 4: Historia Sztuki

169-192

Stanisław Rodziński, a Krakow painter, as soon as during his studies wanted to stand up to works with a religious content, hallowed with the tradition of Christian iconography. He wanted to include his own personality and his experiences into his works. The experiences were enriched by his spiritual formation he had received in the university chaplaincy in the St Anne Church in Krakow, especially from Rev. Wacław Świerzawski. The cyclical form of the painter’s work in the area of religious art gave a number of paintings with the two subjects: Pietà or Lamentation over the Dead Christ. Into the traditional composition patterns new elements were woven – updating the paintings by referring to contemporary events: the death of Archbishop Romero, pain over the loss of his brother – Janusz, emotions over the body of one of the murdered miners from the Wujek mine, or over the body of the cruelly beaten Rev. Popiełuszko. Rodziński included modern history into his religious works; he presented old subjects by joining iconographic patterns with emotions stirred up by recent events. It was similar with Rodziński’s Crucifixions, with new techniques of painting and emotional expression of the works (Mary Magdalene’s gesticulation at the foot of the Cross) and with the use of the inspiration of masters (Grünewald, Georges Rouault) and mystics of the Middle Ages (e.g. Hildegard of Bingen, Henry Suso) as well as later ones (Anne Catherine Emmerich). Rodziński’s works touch upon transcendent experiences; they are religious works (albeit they are not hung in churches); they make one muse. Veils of Veronica are similar canvases, as well as several works with the title De profundis.Paintings that have a sacred character are, among others, the following: Brother Albert, painted for the parish church in Wólka Podleśna, 7 cycles of Stations of the Cross, and a portrait of Blessed Julia Rodzińska (the artist’s aunt). Stanisław Rodziński’s religious and sacred works are a significant record of a contemporary interpretation of the traditional iconography, an attempt at updating it by including in it the painter’s own experiences and reflections concerning the recent history of man.

Cykliczność twórczości malarza w obrębie sztuki religijnej objawiła się szeregiem obrazów o tematach Pieta lub Lamentacja (Opłakiwanie). W tradycyjne schematy kompozycyjne wplecione zostały nowe elementy - aktualizacje przez odwołanie do współczesnych historii: śmierć abpa Romero, ból po stracie brata - Janusza, wzruszenie nad ciałem jednego z zamordowanych górników w kopalni Wujek lub nad ciałem skatowanego ks. Jerzego Popiełuszki. Rodziński do dzieł religijnych włączył współczesną historię, przybliżył stare tematy przez połączenie schematów ikonograficznych z emocjami łączącymi się z najnowszymi wydarzeniami. Podobnie rzecz się miała z Ukrzyżowaniami Rodzińskiego, nowymi sposobami malowania oraz emocjonalnym wyrazem dzieł (gestykulacja Marii Magdaleny pod Krzyżem), a także oraz korzystaniem z inspiracji mistrzów (Griinewald, Georges Rouault) i mistyków średniowiecznych (np. Hildegarda z Bingen, Henryk Suso) oraz późniejszych (Anna Katarzyna Emmerich). Twórczość Rodzińskiego dotyka przeżyć transcendentnych, są to dzieła o treści religijnej (jednak niezawieszane w kościołach), skłaniają do kontemplacji. Podobnymi płótnami są też Veraikony oraz kilka kompozycji opatrzonych tytułem De profundis. Obrazy o charakterze sakralnym prezentują m.in. dzieła: Brat Albert, namalowany dla kościoła parafialnego w Wólce Podleśnej, 7 cykli Drogi Krzyżowej oraz portret bł. Julii Rodzińskiej (ciotki artysty).Twórczość religijna i sakralna Stanisława Rodzińskiego jest istotnym zapisem współczesnego odczytania tradycyjnej ikonografii, próbą jej aktualizacji przez włączenie do niej własnych doświadczeń i przemyśleń dotyczących najnowszej historii ludzkości.

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1 Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

1 Roczniki Humanistyczne

1 Antos J.

1 Krasucka B.

1 2014

1 2013

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Dzienniki Józefa Czapskiego, szkicowniki Stanisława Rodzińskiego, szkicowniki Bogusława Bachorczyka

Malarstwo religijne i sakralne Stanisława Rodzińskiego