Instytut Sztuki (Warschau) [Hrsg.]; Państwowy Instytut Sztuki (bis 1959) [Hrsg.]; Stowarzyszenie Historyków Sztuki [Hrsg.]: Biuletyn Historii Sztuki (69.2007)

PROBLEM „MUZYCZNOŚCI" W POLSKIM MALARSTWIE I KRYTYCE SZTUKI PRZEŁOMU XIX I XX W.

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although the applying to pictures of titles drawn from
musical terminology was a noticeabic phenomenon at
that time. Definitions such as 'symphony' and
'harmony' appear most frequentiy in landscapes and
still-iifes, reveaiing a generał intention to stress values
relating to the cołours applied in the picture. A second
group of applied terms is represented by names
expressing tempo and the generalised character of a
musicat composition, such as largo, allegro, which in
painterly works (e.g. by X. Wasilkowski and W.
Weiss) supplement the anecdote and above all
heighten their atmospheric character. A particular

attempt worthy of recogniton at embodying in
practice the theory of the specific relationship
between colour and sound is the pastel by W. Weiss
titled Abesfc - o ^tu<fy ofco/our.
The theory subjected to analysis of painting's
hnusicalisation' as present in Polish art criticism at
the tum of the 19th century should be acknowledged,
in spite of its minima! influence on painting as it was
practised, as an important phenomenon connecting
Polish art with the main stream of European art at
this time.
by Peter Martyn