Malarz w artystycznych zmaganiach z tradycją. Harolda Blooma koncepcja lęku przed wpływem PAINTER IN ARTISTIC STRUGGLE WITH TRADITION. The Concept of Anxiety as Influenced by Harold Bloom
PAINTER IN ARTISTIC STRUGGLE WITH TRADITION
The Concept of Anxiety as Influenced by Harold Bloom
In a letter to another poet, Wallace Stevens, American poet and essayist,
wrote: [...] I consciously resigned from reading mannered poets such as Eliot
or Pound, in order to avoid taking anything from them, even unconsciously.
In contrast to that attitude, young German expressionists with full
consciousness seek inspiration at the beginning of their artistic career
mainly in post-impressionist movement, discovering in direct or indirect
contact (exhibitions) the power of color and their own creative power, due
to what did their precursors. In his publication entitled ‘The anxiety of influence’,
Bloom wrote that ‘poetic influence is not required to make poets
become less original; equally often it makes them more original, though
not necessarily better’. The main animators of expressionism in German
painting and graphics (Emil Nolde, Max Beckmann, Oskar Kokoschka,
George Grosz, Max Bechstein, Ernest Ludwig Kirchner, Vasily Kandinsky,
Alexei Jawlenski, Franz Marc, August Macke, Egon Schiele) turned out to
be maybe not better than Precursors, but undeniably original. Undoubtedly
artistic path of each of these artists can be decomposed according to
Bloom’s scheme, based on six revisions for allowing to understand ... how
one poet walks away from another, which would confirm the legitimacy
of using Bloom’s philosophical-literary theory in relation to visual arts.
Such awareness validates the idea of interpreting artistic career of Polish
renown artist Zdzislaw Nitka, who gave his habilitation dissertation
the following title: Painter on the shoulders of the artist – that is a tribute
to the masters.
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