- Tytuł:
-
Dwa twierdzenia. Studium porównawcze.
Two Statements. A comparative study. - Autorzy:
- Michalski, Jan
- Powiązania:
- https://bibliotekanauki.pl/articles/560153.pdf
- Data publikacji:
- 2009
- Wydawca:
- Uniwersytet Wrocławski. Instytut Historii Sztuki
- Tematy:
-
Andrzej Wróblewski
Zbylut Grzywacz - Opis:
- The contents of the article is a comparison of two important in the post-war Polish art pictures: ‘The Queue Goes On’ of 1956 by Andrzej Wróblewski (1927-1957) and its travesty – ‘The Queue Still Goes On’ (for Andrzej Wróblewki) of 1973 by Zbylut Grzywacz (1939-2004). Both works had political meaning – read usually as existential metaphors of communist system. Wróblewski’s painting was read in the spirit of marxist revisionism of the ‘Thaw’ period, Grzywacz’s painting in the spirit of democratic rhetoric used by the opposition fighting for ‘human rights’ in the 1970s. The author compares both pictures, together with the expressions assumed as their titles, and exams the relations between them. Art history methods play an additional role as the actual aim of consideration is showing the deeper, spiritual ground of relations of both artists. It is a task for hermeneutics, which is described by the author as a gift of reading signs and following these signs as far as possible. ‘Each repeti- tion is equally primary as the work itself’ these words by Hans-Georg Gadamer are a compositional frame for the essay and an interpretation directive. How did Grzywacz ‘repeat’ Wróblewski’s painting? The author is looking for an answer on a few interpretation planes. Wróblewski’s art was rich in symbols of metamorphosis – it was permeated by the typical for European post-war art stream of cosmic vitalism and biological regeneration, appearing in visual metaphors of ‘a life chain’ among others. Examining reflections of this stream in Grzywacz’s art reveals its traces not in the area of moralistics and history, but in science. Both painters were agnostics, with Grzywacz being a naturalist – he was an active collector in the field of geology and entomology. Symbols of metamorphosis, which were unusually seldom in his painting, were connected with these sciences – the artist’s life passions – what is proved in his picture ‘Chrysalis’ painted during his terminal illness.
- Źródło:
-
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 4(14); 91-103
1896-4133 - Pojawia się w:
- Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
- Dostawca treści:
- Biblioteka Nauki
Artykuł