DOI Artikel:
Poprzęcka, Maria: Renesans pompierów
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27011#0151
KENESANS POMPIEKÓW
115
porównania wskazują na pouczające podobieństwa i odmienności (np. sła-
by oddźwięk w sztuce polskiej bardzo istotnych w Czechach idei panslawi-
stycznych). Pamiętając słowa Władysława Kozickiego, że Matejkę „porów-
nywać z jakimś Delarochem, Gallaitem, Wappersem czy Pilotym, znaczy-
łoby nie rozumieć najistotniejszej treści jego ducha i sztuki” 54 — trzeba
zobaczyć dziewiętnastowieczne malarstwo polskie na tle współczesnej mu
produkcji oficjalnej, malarstwa Salonów i światowych wystaw, gdzie było
wszak reprezentowane i nagradzane. Pozwoli to i na lepsze wydobycie
jego odrębności, jak też na pełniejsze określenie współudziału sztuki pol-
skiej we wciąż wzbogacającym się o nowe elementy obrazie sztuki wie-
ku XIX.
POMPIERS’ RENAISSANCE
Summary
The aim of this article is to present the changes which took place in the study
of the visual arts in the nineteenth century and especially in its second haif. These
studies left aside the criteria of “modernity” and “harbingery” that determined the
rangę and character of art studies in the nineteenth century. This change of attitude
towards art could be noticed at a recently organized exhibitions of “drawing-room
painting” and of the art of Pompiers and also in a growing number of popular and
scholarly editions and editions of books of plates. Ali of them tend, in different ways
and with different results, to give fuli presentation of nineteenth century art and not
only certain trends. The reasons for such a reevaluation of artistic trends are com-
plex. Some of them are: some generał changes in historical Sciences (shifting the
main interest in individual facts to a wider rangę of generał phenomena); in the
humanities, a revision of the rigid presentation of “old fashioned” nineteenth cen-
tury lines and the twentieth century “modernity”, the character of some modern
trends (pop-art and hiperrealism) which usually constitute the interpretational ten-
dencies in the history of art, the still existing fascination with daub and finally com-
mercial reason also play an important role in such a revalorization.
These reevaluations bring numerous conseąuences in the history of art in the
nineteenth century. At first it brings to widening of the field of study of considered
objects, then to the analysis and taking' into account of the whole production of
that composed the figurative language of an epoch, its schemes and stereotypes, not
only the rehabilitation of “bad” painting and sculpture, but also oil prints, postcards,
photography, adyertisments. The art of the Nineteenth Century, because it exceeds the
rangę of the uniąue and the traditional in work of art, that is the area of “beaux
art”, becomes morę significant because it was the first epoch characterised by mass
art, constantly reproduced, by means of better techniąues of reproduction. It was
the epoch in which art was addressed to a constantly growing democratic public.
Change of the subject of studies, and a great many of the materials, including
the works which were neglected before or dismissed with a few pejoratiye com -
54 W. K o z i c k i, Henryk Rodakowski. Warszawa 1927, s. 18.
115
porównania wskazują na pouczające podobieństwa i odmienności (np. sła-
by oddźwięk w sztuce polskiej bardzo istotnych w Czechach idei panslawi-
stycznych). Pamiętając słowa Władysława Kozickiego, że Matejkę „porów-
nywać z jakimś Delarochem, Gallaitem, Wappersem czy Pilotym, znaczy-
łoby nie rozumieć najistotniejszej treści jego ducha i sztuki” 54 — trzeba
zobaczyć dziewiętnastowieczne malarstwo polskie na tle współczesnej mu
produkcji oficjalnej, malarstwa Salonów i światowych wystaw, gdzie było
wszak reprezentowane i nagradzane. Pozwoli to i na lepsze wydobycie
jego odrębności, jak też na pełniejsze określenie współudziału sztuki pol-
skiej we wciąż wzbogacającym się o nowe elementy obrazie sztuki wie-
ku XIX.
POMPIERS’ RENAISSANCE
Summary
The aim of this article is to present the changes which took place in the study
of the visual arts in the nineteenth century and especially in its second haif. These
studies left aside the criteria of “modernity” and “harbingery” that determined the
rangę and character of art studies in the nineteenth century. This change of attitude
towards art could be noticed at a recently organized exhibitions of “drawing-room
painting” and of the art of Pompiers and also in a growing number of popular and
scholarly editions and editions of books of plates. Ali of them tend, in different ways
and with different results, to give fuli presentation of nineteenth century art and not
only certain trends. The reasons for such a reevaluation of artistic trends are com-
plex. Some of them are: some generał changes in historical Sciences (shifting the
main interest in individual facts to a wider rangę of generał phenomena); in the
humanities, a revision of the rigid presentation of “old fashioned” nineteenth cen-
tury lines and the twentieth century “modernity”, the character of some modern
trends (pop-art and hiperrealism) which usually constitute the interpretational ten-
dencies in the history of art, the still existing fascination with daub and finally com-
mercial reason also play an important role in such a revalorization.
These reevaluations bring numerous conseąuences in the history of art in the
nineteenth century. At first it brings to widening of the field of study of considered
objects, then to the analysis and taking' into account of the whole production of
that composed the figurative language of an epoch, its schemes and stereotypes, not
only the rehabilitation of “bad” painting and sculpture, but also oil prints, postcards,
photography, adyertisments. The art of the Nineteenth Century, because it exceeds the
rangę of the uniąue and the traditional in work of art, that is the area of “beaux
art”, becomes morę significant because it was the first epoch characterised by mass
art, constantly reproduced, by means of better techniąues of reproduction. It was
the epoch in which art was addressed to a constantly growing democratic public.
Change of the subject of studies, and a great many of the materials, including
the works which were neglected before or dismissed with a few pejoratiye com -
54 W. K o z i c k i, Henryk Rodakowski. Warszawa 1927, s. 18.