128

W. SUCHOCKI

Wdzięczności z 1932 r. i tym czerwcowym, o pół wieku późniejszym (lo-
kalizacja, symbolika religijna, charakter dyskusji wokół nich — a prze-
cież także związek tego ostatniego z pomnikiem Mickiewicza); refleksja
ta rzecz prosta nie może być konkluzją — ale być może punktem wyj-
ścia.

THE ARTISTIC LIFE OF POZNAŃ
THESIS ABOUT THE GEOGRAPHY OF ART IN THE TWENTIETH

S u m m ary
Although the starting point of this paipar was the question about Poznań, what
this name means on the artistic map and what vrais the role of this particular
city as of an artistic centre, the actual state oil our studies suggests the nec-
cesjsity of concentrating upon the formulât Loin of the theoretical basis. Because the
studies of. the similar problems in other disciplines are more advanced we found
it useful, while concerning their effects, to Concentrate upon the attempt of des-
cribing the specific artistic aspects of the spatial relation's in culture and the key
problem of the conjugation of the artistic and the geographical aspects. On the
other hand, the studies of this problem evidently lead to the historical — ar-
tistic synthesis and further on, they lead to the studies upon man and his exist-
ence.
Brief review of the literature ooncemninlg these problems enables us to notice
certain weaknesses that need to be surmounted: lawk of adequate studies con-
centrating especially around the period of twenty yearns between the wars, then
the lack of consistent theory enabling art historians t'o formulate the synthesis
and the influence upon the studies of this problem including certain paradigms
and the related hierarchy of values (wli'aft results in e.<g. reduction of the arti-
stic problems to purely political ones), then the problem of typographical ter-
minology functioning as a specific hypostasis, also the insufficient consideration
I of such problems as the reception and finally the chaotic .terminology.
A few points of the argumentation attempting the formulation of the theory
of the Geography — art studies deserve our careful Consideration here.
Considering the relations between the artistic and the spatial atspeotls the
author accepts the actual idea 'of the art history, namely the consideration fo-
cuses on a work of art itself which constitutes a centre of an artistic system.
Thus, the artistic system consists of: audience, means of production, finances,
a way of presentation, then, the control arid an artistic culture, also oif an ar-
tistic convention and an artistic tradition. The relations between a work Of art
in a form of .a text and a system can be only 'indirect by means of a system of
a “situated” compiled artistic conventionis while the existence of a wlork of art
as an object is realized as “being in a place”: its physical being, accessibility and
the knowledge about its existence.
A work of art — an object usually appears to be a détail of landscape, sur-
rounding or the man’s environment that brings about creation of imagination of
visual habit's, implication of certain conventions or imposing a certain decorum.
it seems to be significant here to draw our attention to the aspect of a re-
lationship 'between a work of art and its place. This particular relation may be-