DOI Artikel:
Markowska, Anna: Around 1948: the "gentle revolution" and art history
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.52521#0165
Around 1948: The „Gentle Revolution" and Art History 159
Pokaz obrazów i dzieł sztuki ze zbiorów Potockich zabezpieczonych przez władze
bezpieczeństwa przed wywozem za granicę [exhibition catalog, November-De-
cember 1946], Muzeum Narodowe, Warszawa 1946
Preziosi D, The Art of Ant History. A Critical Anthology, Oxford 2009
Preziosi D, "The Question of Art History" Critical Inquiry 1992, 18(2)
Reichardt R., H. Kohle, Visualising the Revolution. Politics and Pictorial Arts in Late
Eighteenth-Century France, transi. G Attwood, Reaktion Book, London 2008
Rich S. K., "Jean Dubuffet: The Butterfly Man," October 2007, 119, pp. 46-74
Shiner L., The Invention of Art: A Cultural History, Chicago 2001
Sławska A., "No i co teraz zrobimy?” Pamiętnik z pewnej wycieczki, Poznań 2019
Szymanowicz M., Zaburzona epoka. Polska fotografia artystyczna w latach 1945-
1955, Poznań 2016
Ś witek G., "'Inni' w kanonie nowoczesności," in: Polska-kraj folkloru?, ed. J. Kordjak,
Warszawa 2016, pp. 171-179
The Artist Outsider: Creativity and the Boundańes of Culture, cds. M. D Hall, E. W Met-
calf, Jr., Washington 1994
"Outsider Art, Vernacular Traditions, Trauma, and Creativity," Western Folklore
2008, 67(2/3), pp. 179-198
Woynarowski J., Taksydermia, „Kronos" [MOBI file] 2015, 3, pp. 53-59
Włodarczyk W, Pięćlat, in: Zaraz po wojnie, eds. J. Kordjak, A. Szewczyk, Warszawa
2015
Zachwatowicz J., "Program i zasady konserwacji zabytków," Biuletyn Historii Sztuki
i Kultury 1946 (June)
Zaraz po wojnie, eds. J. Kordjak, A. Szewczyk, Warszawa 2015
Zychowicz K., Paryska lewica w stalinowskiej Warszawie, Warszawa 2014
Anna Markowska
University of Wrocław
AROUND 1948: THE „GENTLE REVOLUTION" AND ART HISTORY
Summary
Just like after World War I Italy experienced a transition from modernism to fascism,
after World II Poland experienced a passage from modernism to quasi-communism.
The symbol of the first stage of the communist revolution in Poland right after the war,
the so-called "gentle revolution," was Pablo Picasso, whose work was popularized not
so much because of its artistic value, but because of his membership in the commu-
nist party. The second, repressive stage of the continued came in 1949-1955, to return
after the so-called thaw to Picasso and the exemplars of the École de Paris. However,
the imagery of the revolution was associated only with the socialist realism connected
to the USSR even though actually it was the adaptation of the École de Paris that best
expressed the revolution's victory. In the beginning, its moderate program, strongly
emphasizing the national heritage as well as bilanciai promises, made the cultural
Pokaz obrazów i dzieł sztuki ze zbiorów Potockich zabezpieczonych przez władze
bezpieczeństwa przed wywozem za granicę [exhibition catalog, November-De-
cember 1946], Muzeum Narodowe, Warszawa 1946
Preziosi D, The Art of Ant History. A Critical Anthology, Oxford 2009
Preziosi D, "The Question of Art History" Critical Inquiry 1992, 18(2)
Reichardt R., H. Kohle, Visualising the Revolution. Politics and Pictorial Arts in Late
Eighteenth-Century France, transi. G Attwood, Reaktion Book, London 2008
Rich S. K., "Jean Dubuffet: The Butterfly Man," October 2007, 119, pp. 46-74
Shiner L., The Invention of Art: A Cultural History, Chicago 2001
Sławska A., "No i co teraz zrobimy?” Pamiętnik z pewnej wycieczki, Poznań 2019
Szymanowicz M., Zaburzona epoka. Polska fotografia artystyczna w latach 1945-
1955, Poznań 2016
Ś witek G., "'Inni' w kanonie nowoczesności," in: Polska-kraj folkloru?, ed. J. Kordjak,
Warszawa 2016, pp. 171-179
The Artist Outsider: Creativity and the Boundańes of Culture, cds. M. D Hall, E. W Met-
calf, Jr., Washington 1994
"Outsider Art, Vernacular Traditions, Trauma, and Creativity," Western Folklore
2008, 67(2/3), pp. 179-198
Woynarowski J., Taksydermia, „Kronos" [MOBI file] 2015, 3, pp. 53-59
Włodarczyk W, Pięćlat, in: Zaraz po wojnie, eds. J. Kordjak, A. Szewczyk, Warszawa
2015
Zachwatowicz J., "Program i zasady konserwacji zabytków," Biuletyn Historii Sztuki
i Kultury 1946 (June)
Zaraz po wojnie, eds. J. Kordjak, A. Szewczyk, Warszawa 2015
Zychowicz K., Paryska lewica w stalinowskiej Warszawie, Warszawa 2014
Anna Markowska
University of Wrocław
AROUND 1948: THE „GENTLE REVOLUTION" AND ART HISTORY
Summary
Just like after World War I Italy experienced a transition from modernism to fascism,
after World II Poland experienced a passage from modernism to quasi-communism.
The symbol of the first stage of the communist revolution in Poland right after the war,
the so-called "gentle revolution," was Pablo Picasso, whose work was popularized not
so much because of its artistic value, but because of his membership in the commu-
nist party. The second, repressive stage of the continued came in 1949-1955, to return
after the so-called thaw to Picasso and the exemplars of the École de Paris. However,
the imagery of the revolution was associated only with the socialist realism connected
to the USSR even though actually it was the adaptation of the École de Paris that best
expressed the revolution's victory. In the beginning, its moderate program, strongly
emphasizing the national heritage as well as bilanciai promises, made the cultural