"Foreign Relatives: How German Is Polish Post- War Expressionism". (original) (raw)
Related papers
Lidia Głuchowska, “Poznań Expressionism” and Its Connections with the German and International Avant-Garde, in: The Routledge Companion to Expressionism in a Transnational Context, ed. Isabel Wünsche, New York: Routledge/ Taylor&Francis, 2019, ISBN: 987-1-138-71255-3 (hbk), pp. 92–112, 2019
This essay focuses on the so-called Poznań expressionism—a unique manifestation of the expressionist artistic style that existed in parallel to the second generation of German expression-ism, during the interwar period. It concerns the history of the literary-artistic group Bunt (Revolt) and the polemics on the cathegorization of it and its circle as Expressionist and as a local/national phenomenon.
The Great War, eds Paulina Kurc-Maj, Paweł Polit, Anna Saciuk-Gąsowska, Łódź: Muzeum Sztuki, 2018, ISBN: 978-83-63820-76-7
This paper concerns the concept of Expressionism as the main international and national artistic movement during the WW1. Less known examples of paintings and art prints eg. from Bulgaria, Slovenia, Finnland, Latvia, Poland, Germany and Czech Lands as well as works by some Jewish artists, and the split between Expressionism and Dadaism are taken into consideration.
Art in a Disrupted World: Poland, 1939–1949
2021
With Art in a Disrupted World, art historian Agata Pietrasik presents a study of artistic practices that emerged in Poland during and after World War II. Pietrasik highlights examples of artworks by a number of Polish-born artists that were created in concentration camps and ghettos, in exile, and during the years of social, political, and cultural disintegration immediately following the war. She draws attention to the ethics of artistic practice as a method of fighting to preserve one’s own humanity amid even the most dehumanizing circumstances. Breaking out of entrenched historical timelines and traditional forms of narration, this book brings together drawings, paintings, architectural designs, and exhibitions, as well as literary and theatrical works created in this time period, to tell the story of Polish life in wartime. Employing an accessible, essayistic style, Pietrasik offers a new look at life in the ten years following the outbreak of World War II and features artists—including Marian Bogusz, Jadwiga Simon-Pietkiewicz, and Józef Szajna—whose work has not yet found substantial audiences in the English-speaking world. Her reading of the art and artists of this period strives to capture their autonomous artistic language and poses critical questions about the ability of traditional art history writing to properly accommodate artworks created in direct response to traumatic experiences.
Polish conceptualism of the 1960s and 1970s Images, objects, systems and texts
Third Text , 2001
The 1960s were a period defined by enormous changes throughout the visual arts in Poland. Early in the decade a neo-Constructivist identity began to dominate the area of avant-garde painting, largely displacing late 1950s informel, in part to repudiate the period of Socialist Realism (1948-55), and reaffirm a continuity with the 'authentic' example of the interwar Avant-garde. In this article I would like to focus more closely on the new proliferation of unusual concrete poetry, textual projects, and intermedial works, which then proceeded to develop from the midst of a context which until that point had been defined more by abstract painting than anything else
Artium Quaestiones
Writing an academic history of Polish art was an urgent task of art historians after World War I, when the country regained its political independence. An important and creditable achievement in that respect was a study by Michał Walicki and Juliusz Starzyński, published in 1934 as a kind of supplement to the monumental Geschichte der Kunst von der altchristlichen Zeit bis zur Gegenwart by the Marburg historian Richard Hamann, translated at that time into Polish. In 1936, the work of the Polish scholars was published again in the form of a separate book. The paper focuses on three problems that were addressed in it: the cultural and artistic ties of Poland to the West, the vernacular features of Polish art, and the presence of the “Eastern art” in Polish artistic heritage. The author examines also the question whether those issues were related to the political, social, and cultural reality of the Second Polish Republic.
Discursive Construction of Art as a Subject of Politics: Selected Notes on Polish Aesthetic Thought
Comparative Literature: East & West, 2017
The study seeks to capture and explore the dynamic relationship between aesthetics and broadly understood politics as a cultural phenomenon. The entanglement of art in sociopolitical contexts ("politicization of art") is discussed from the institutional perspective (development of Marxist thought in Poland after 1945) and within the domain of social activitythe structure of the ordinary (realization of aesthetic postulates of Marxism). The main objective is thus to analyze the effect of Marxism on the twentieth-century aesthetics in Poland with a special emphasis on the postwar period (after 1945), when the basic patterns of that school of thinking took shape. The main focus is on the approach to the Marxist concept found in the theory of Polish Socialist realism. The analysis also involves reflections on the reduction of Marxism to the ideology of Socialist realism and the ideology of art which is associated with it.
The Creative Process in the Words of Polish Artists Active after WWII
Studia Paedagogica Ignatiana, 2021
The creative process, its elements and its properties are the subject of research in various disciplines and have also been described by artists. A look at their words about the creative process can broaden the knowledge about creating in the field of art and can highlight the similarities and differences between natural creative ability and artistic creativity. The article presents research into statements made by recognized visual artists who were active in postwar Poland. Various artistic attitudes were revealed here, the common feature of which was a reference to postwar memory and legacy. The accounts of these artists elucidate the planned and intuitive elements of creation and point to the goals of creative activities as well as to the emotional benefits and burdens. This study also presents arguments for possible connections between the statements under analysis and the research in the psychology of creativity, aesthetics and the theory of art.