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1

Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)

100%

Luba I.

Ikonotheka

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2016

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vol. 26

137-166

EN

From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).

2

Paradoks sztuki narodowej i modernizmu. Władysław Strzemiński laureatem nagrody artystycznej miasta Łodzi w roku 1932

80%

Luba I.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 3-4

707-732

EN

The text focuses on an important event in the artistic history of the 2nd Polish Republic, i.e. awarding a prestigious Prize of the City of Łódź in 1932, on this occasion for the first time to an artist. The winner, as it turned out, was Władysław Strzemiński. Previously only writers had been awarded it and they strongly criticized the prize founders’ decision, considering it a deprivation of their own privilege. The originator of widening the prize’s formula, head of the Culture and Art Department at Łódź Municipality Przecław Smolik, though himself a writer and bibliophile. Awarding the prize to Strzemiński was an unprecedented event in the history of the artistic life in inter-war Poland. The social ranking of the prize was extremely high. Additionally, the question of the artistic Prize also became the direct cause of transferring in 1923 the discourse on the essence of the Avant-garde, and Constructivism in particular, from professional artistic journals to popular national press, as well as to periodicals conservative in their character. It was a phenomenon of a sudden and unexpected permeating of the issues of previously elitist art to mass culture circulation on an unprecedented scale.

3

Sala Neoplastyczna: od kobiety ornamentu do kobiety instrumentu

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Lisiewicz M.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 4

445-454

EN

The objective of this article is to conduct a revision of the meanings attributed in Polish art history to a piece of work regarded as an ‘iconic’ Polish museum piece by Władysław Strzemiński, a leading representative of constructivism, titled Sala Neoplastyczna. The text proposes considering afresh the tangle of evidence relating to the rise of this work, such as the time its creation required, the title its author chose to give it (“Oeuvre néoplastique”) and that artist’s works in the field of theory and practice in the designing of spatial forms. The main axis of the here-contained analysis of Sala Neoplastyczna is above all else the work itself (or rather this design’s reconstruction), and in particular an arrangement in its range of works by the artist’s wife, Katarzyna Kobro, the eminent sculptress.

4

Przemoc i puls życia. Rec.: Luiza Nader, Afekt Strzemińskiego. „Teoria widzenia”, rysunki wojenne, „Pamięci przyjaciół – Żydów”. Łódź–Warszawa 2018. „Nowa Humanistyka”. T. 56

71%

Juchniewicz A.

Pamiętnik Literacki

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2024

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vol. 115

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issue 2

232-241

PL

W recenzji podkreślono nowatorstwo monografii Luizy Nader „Afekt Strzemińskiego. „Teoria widzenia”, rysunki wojenne, „Pamięci przyjaciół Żydów”” (2018), cechującej się pluralizmem metodologicznym. Autorka określa swoją metodę analityczno-interpretacyjną jako balansowanie lub oscylowanie pomiędzy kolażami, rysunkami i „Teorią widzenia” Władysława Strzemińskiego. Udowadnia, że w powojennej sztuce reagującej na Holokaust pojawia się perspektywa świadka, który uwikłany jest w przemoc ze względu na bliskość doświadczenia granicznego, jakim była Zagłada. Zadaniem Strzemińskiego jako obserwatora było nie tylko potępienie powojennego antysemityzmu, lecz również opłakanie Żydów – przyjaciół, uczniów oraz anonimowych ofiar, których wizerunek został utrwalony na wykorzystanych przez Strzemińskiego fotografiach. Jego dorobek powstały podczas wojny i po wojnie można rozpatrywać jako hommage dla tych, których pochłonął XX-wieczny kataklizm.

EN

The review highlights the innovativeness of Luiza Nader’s monograph “Afekt Strzemińskiego. „Teoria widzenia”, rysunki wojenne, ‘Pamięci przyjaciół – Żydów’” (“Strzemiński’s Affect. “Theory of Seeing,” War Drawings, ‘In Memory of Friends—Jews,’” 2018) marked by methodological pluralism. The author defines her analytical-interpretive method as balancing or oscillating between Władysław Strzemiński’s collages, drawings, and “Teoria widzenia” (“Theory of Seeing”). She demonstrates in the postwar art that responds to the Holocaust the existence of the witness that becomes entangled in violence due to closeness of borderline experience—the Shoah. The task of Strzemiński as the observer was not only condemnation of the postwar antisemitism, but also mourning for the Jews—friends, students, and anonymous victims whose image was preserved on the photographs used by the artist. His war and shortly after war achievements can be interpreted as homage to those devoured by the 20th century disaster.

5

Władysław Strzemiński – seria kolaży „Moim przyjaciołom Żydom”. Doświadczenia wojny, żal i smutek

70%

Jedlińska E., Uniwersytet Łódzki W. F.-H.

Przegląd Nauk Historycznych

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2014

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vol. 13

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issue 1

EN

The artist was born on November 21, 1893 in Mińsk, Bialorussia. He was the eldest son of a Polish family, though his father was a Lieutenant Colonel of the Tsarist Army. Strzemiński’s first encounter with modern art took place during his studies in Sankt Petersburg. He graduated from Tsar Alexander II Cadet School before studying at a Tsar Nicholas Military College of Engineering (1911–1914). In the middle of 1922, Strzemiński and Katarzyna Kobro – his wife – left the Soviet Smolensk and came to Poland. The events which undermined their and many other artists’ belief in value of art fully expressing the ideas of victory of new forms might have influenced their decision to settle down in Poland. In autumn 1931 Strzemiński moved to Łódź. Following the opening of the International Collection of Modern Art at the Łódź, Strzemiński was offered a teaching position in Łódź. Almost from the beginning Strzemiński was surrounded by young artists, graduates of art schools in Warsaw and Kraków (Stefan Wegner, Aniela Menkes, Jerzy Ryszard Krause, Bolesław Hochlinger). He was their teacher and master. The Public School was not only a place which offered additional training for printers and house-painters, but also the meeting place and studio where theoretical programs and exhibitions were prepared. Strzemiński taught typography and the principles of functioning printing. Another group of students who studied with Strzemiński was recommended to him by Mojżesz Broderson and Jankel Adler. It was the group of very young Jewish students: Samuel Szczekacz, Julian Lewin and Pinkus Szwarc. They started a private evening course at the Public School of Technical Training No. 10 in Łódź. The intensive art course attended by thise group included practical elements inspired by the image-making and spatial form techniques developed by Pablo Picasso, Kazimierz Malewicz, Piet Mondrian, Strzemiński and Kobro, and Jean Arp. These forms of art are known as cubism, unism, nepolasticism, suprematism and surrealism. Strzemiński and Kobro spent the summer 1939 together with their daughter Nika in Hel Peninsula. When the war broke-out, they left Łódź and headed East, where they spent the sever winter of 1939/1940. The first war series of drawings was created there. In May 1940 the artists came back to Łódź/Litzmannstadt. The first 3 months after the invasion of the city by the German was a period of massive extermination, including creation of Łódź ghetto. The Strzemińskis, without work, prosecuted for their revolutionary artistic activities tried to survive; at the end of war Strzemiński was seriously ill. In this period artist the artist drew a series of six drawings made in pencil on paper (“Deportation”). The drawings made in a winding line and showing deformed, as if deprived of the structure human beings, created the artist’s auto-commentary. After the series “Deportation” he created the next series “War Against Homes” (1941) and Faces, which consist of closed forms drawn in thin, wavy line suggesting eyeless human faces composed of fragmented facial features of anonymous people. Then the series “Cheap as Mad” (1942–1944) was created. These drawings were produced during the war and are highly deformed, drawn in one contour of an amorphous line. The last cycle connected with war and the Holocaust was a series of collages dedicated “To My Friends the Jews”. He re-used copied by carbon paper war drawings of the previous series as a matrix. The artistic technique used here by Strzemiński touches the primary, in relation to the Holocaust. The Holocaust should exist for us as „an empty place”, one which cannot be possessed by means of the metaphor. This place of lack or the fissure is filled here with documentary photographs, which give the evidence and confirm the extermination. At the bottom there is the cut out photo showing a charred corpse. The sketchy line and the charred corpse are joined together by the red color of splutter of blood. In other works of this series the artist used a photographic document showing children from an orphanage in the Litzmannstadt ghetto in the company of their caregivers going in pairs to the extermination camp in Chełmno. Mendel Grossman was a Jewish photographer in Łódź/Litzmannstadt ghetto and author of one of a few photographes used by Strzemiński (“The Empty Shinbones of the Crematoria”). Strzemiński used in his collages also the documentary photographs printed in Polish newspapers, edited between 1945 and 1946. It was the time of Nuremberg Trials, and the time when the pictures made by photographers of the US Army at time of liberation of concentration camps were published [”Stretched by the Strings of Legs and Vow and Oath to the Memory of Hands (The Existence which We Do Not Know)”]. Strzemiński also used the photographs from „The Stroop Report” – 75-page official report and a series of approximately 52 photographs prepared in May 1943 by the commander of the forces that liquidated the Warsaw Ghetto. The art work titled “With the Ruins of Demolished Eye Sockets” presents a solitary man among the ruins of Warsaw Ghetto, and is from „The Stroop Report”. Strzemiński rejected Communism in the 20ies and then Fascism in the 30ies but didn’t find the canon, which could negate his feeling of helplessness and nonsense, losing himself in a lack of form of his war drawings. This series of Strzemiński analyzed from the distance of few decades makes a suggestive, forceful and permanent picture of emptiness and void, which he tried to fill with the state of mourn and sadness.

PL

Celem niniejszego opracowania jest przedstawienie i pogłębiona interpretacja unikalnego w dorobku Władysława Strzemińskiego (1893–1952) i w ogóle historii sztuki, zespołu prac zatytułowanego Moim przyjaciołom Żydom (1945/1946?). Moim zadaniem było wykazanie jak na tle koncepcji awangardy artystycznych XX w., których Strzemiński był głównym ideologiem i twórcą, kształtowały się losy tego artysty, jego przyjaźni, fascynacji artystycznych, zaangażowania w życie społeczne oraz jak – w obliczu wydarzeń II wojny światowej i Zagłady – idealistyczne, niespełnione marzenia uległy ostatecznemu, jak uważał, zniszczeniu. Podstawowym zadaniem było dokonanie niejako nowej interpretacji cyklu poprzez skupienie uwagi na kontekście historycznym, politycznym i społecznym, które uwarunkowały powstanie cyklu dziesięciu kolaży.

6

Naturalistyczna teoria dzieła sztuki na gruncie estetyki realistycznej Władysława Strzemińskiego

70%

Hanuszewicz S.

Estetyka i Krytyka

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2010

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issue 17-18

227-235

EN

In Theory of Vision, Władysław Strzemiński presented criticism of idealistic aesthetics and his own realist theory. Basing on the above-mentioned book, he formulated an original naturalistic theory of a work of art. The author of this paper attempts to show the essence of Strzemiński’s critique, however the article is, for the most part, about his positive theory.

7

Powidok intertekstualny

70%

Kwiatkowska A.

Forum Poetyki

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2016

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issue 3

72-77

EN

A particular model of intertextuality can be observed in Julian Przyboś’s poetry; it occurs in poems bearing witness simultaenously to the reception of a literary work and the perception of a fragment of reality dealt with in that work. Przyboś feels that the viewer’s individual history of visual experiences and overall consciousness has a decisive influence on the way he or she assimilates and registers subsequent experiences. This conviction is directly linked to Strzemiński’s theory of seeing; in his view, the reception of visual stimuli is crucially dependent on the impulses directly preceding it, so that the way we perceive what we are looking at now is determined by the image of what have looked at earlier. A particular kind of dependence between Przyboś’s poetry and the poems of Słowacki can be called an intertextual after-image. This term can have further applications in dealing with intertextual dependence in other texts.

PL

W poezji Juliana Przybosia można zaobserwować szczególny model intertekstualności, który pojawia się w lirykach poświadczających równocześnie recepcję wybranego dzieła literackiego i percepcję fragmentu rzeczywistości, którego dane dzieło dotyczyło. Przyboś uważa, że rodzaj wizualnych doświadczeń i ogólna świadomość patrzącego ma decydujący wpływ na sposób przyjmowania i zapisywania kolejnych doznań. Takie przeświadczenie łączy się bezpośrednio z teorią widzenia Strzemińskiego, w myśl której odbiór bodźców wzrokowych zależy w sposób istotny od impulsów bezpośrednio je poprzedzających, więc sposób postrzegania tego, na co patrzymy „teraz”, zdeterminowany jest obrazem tego, na co patrzyliśmy „wcześniej”. Szczególny rodzaj zależności pomiędzy poezją Przybosia a lirykami Słowackiego nazwać można powidokiem intertekstualnym. Termin ten może znaleźć zastosowanie także wobec zależności intertekstualnych w innych tekstach.

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