Instytut Historii Sztuki <Posen> [Editor]
Artium Quaestiones — 2.1983

Page: 87
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phony work's up the theme, repetition energetically changes the first movement) —
constitute the architectural srucure of this ipart of a sonata. The following move-
ments of a sonata are characterized by their emotional expression.
The second movement, expressing tranquillity, is in contrast to the first brisk
part, and the third part, which is usually in the form of a dance, is defined as
The movements of a Finale, take various forms (usually it takes the form
of a rondo, less common are the forms of sonata oir variations) which close a de-
velopment of a sonata.
For such ah interpretation of a form of a sonata, M. K. Giurliontis findis
plastic equivalents. Differentiation of the emotional expressions of the passages
of a sonata in his .series of paintings is realized by mean's of differentiation of
each picture. Every picture is monochromatic in oolouir and stays in distinct
contrast with each other. If we refer to the symbolics and expression of co-
lours (accordi g to Goethe and than H. Struve aesthetics) on oime band and to
the stereotypical associations that help us to define the dynamics of a particular
mood, on the other, we come to the following emotional equivalence of the con-
tents of those paintings with the tempo of a musical piece. SertLau'snelss alnid sad-
ness of a Finale and “peaceful satisfaction” expressed by Andante (töne ochre)
reflect “slowness” of those part's, while the spaitiality and variability of Allegro
and Scherzo (azure stands for sky and Heaven and green — symbol of motion and
renewal) define greater dynamics of those passages,
Strong contrasts of -paintings in this isenias are even deepened by the dynamics
of the composition of each particular painting. The 'organization of every basic
motif of Allegro — gate and a castle on a hill — constitute three planes (ana-
1-olgouls to the three-piece strukturę of a form of a sonata) which together draw
the diagonal of a main line of a composition. The -diagonal runs from the lower
left corner towards the upper right corner. This line .adds dynamics to the paint-
ing and contrasts it with a second group of a series. The dynamics of the second
group are balanced by mean's of analogical composition of the paintings, but
organized by a horizontal axis. The third part — Scherzo — subordinated to
a rolling motion of a meandering river seems to ihuistirate the features of a dance,
rythem, harmo-ny and peace.
Then, a cobweb spreads in the twio thirds of the painting and constitutes
a dominating compositional element of Finale. Its concentric, inflorescence, mono-
tonous motion suggests plastic image of a form of rondo, which, as we have alre-
ady stated, often appears in Finale of a music sonata.
Musical title Sonata of the Sun plays a very significant role in a perceptional
plane. The title, (preceding the very perception of the series announces in advance
a particular kind of expression — expression which should become analogical
to the musical one. Sonata oj the Sun paintings consequently realize the normative
rules of a music sonata composition and they go beyond the modernistic tradition
of “adding musicality” to the painting.
Giuri [omis does not reduce her the values of music leaving only the emotional
and mood aspects as the .symbolists did, he exposes constructional features of
music ia,s those which .Constituite .its existence. Musical form here, determines the
process .of his -artistic creation. It “freed” the artist from Nature and in this wiay
his work becomes erreducble from Nature. This method led to the revelation of
the autonomy of -colour and form organized in imaginative motifs of the paintings.
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