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DOI Artikel:Szczepińska-Tramer, Joanna: Pankiewicz o malarstwie niderlandzkim XV wieku: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35032#0453
PANKIEWICZ O MALARSTWIE NIDERLANDZKIM XV WIEKU
443
/wn? contry
An exhibition titled Frugay 7902. ÆxpoVto?? <7c
m6/<?r/MA /7o/n<:n?ć/.s' <7ey X7G AT^ et AKA .s /cc/e.s*, to
which Georges Hulin de Loo wrote a critical
catalogue containing 413 entries, unillustrated, as
well as an extensive introduction, was the second
such event that equalled in scale the watershed
ThO/ennv <2e / Tmcm/me éco/e ^éer/n^<7aAe staged in
the same city in 1867. The former spawned articles
by Max Friedlander ( 1903) and Max Dvorak ( 1903),
the latter's monograph McAtcrwcrłen <7er mA/cr-
/d??<27s-c/?6/? Tfn/erei, published in Munich in the
same year, as well as a series of other studies
comprising a clearly defined concentration in the
time-space of 1903-1908 of titles concerning
Netherlandish painting of the same period. An
article by Józef Pankiewicz ( 1866-1940), one of the
superbest Polish painters from the end of the 19th
and first half of the 20th centuries, titled IFczgs'ne
mr/GrVi-vo mrAArmVzDE na wyVnwm 7962 roła w
Frnges' (yz'c/) ('Early-Netherlandish painting agt the
1902 exhibition in Bruges') is the subject of the
study published here.
Published in June 1904 in the Polish-language
Paris monthly journal óztnła, this is the only direct
contemporaneous echo from Polish creative circles
of the exhibition. It was also the first and only
declaration on art ever published by Pankiewicz. It
serves as a vital source in any attempt to analyse the
author's creative work of the same period. It is,
finally, one of the fragments composing a picture of
artistic criticism in Poland in the first years of 'our'
century, and this last aspect equally deserves some
attention.
The initiative behind this publication may,
almost certainly, be traced to Antoni Potocki, editor-
in-chief of óztnłn and the painter's close friend. A
general review of the contents of this simply brilliant
periodical reveals the modem critieria of evaluation,
which is evident in the articles it contained first made
available to a Polish readership unfamiliar with
French about Cézanne, Gauguin, Van Gogh and
Whistler, about the colony of Polish artists in Paris
and the translations of critical as well as theoretical
texts of Poe, Delacroix, Gauguin, Van Gogh,
Whistler, Maurice Denis (De /a gmmAeAe <7as*
/wAmYf/y, appearing in Polish in óztnłn in the July
issue of 1904, simultaneously with the text originally
published in French with the same date: Lay ArA et
/<3 D'e). Pankiewicz's text was part of a whole cycle
devoted to what at that time was understood by the
common term 'art of the primitives' in its various
aspects.
The discussed article, comprising ten pages of
printed text and nineteen illustrations, is the work of
a comm Ayenr and, at the same time, of a painter. The
artist's delight was awakened by the paintings of Van
Eyck, Mending, Gérard David and the confrontation
with a disturbing realism depicted by Van der Paele
in the face of a contemporaneous canon. And yet he
walked on, unmoved by the works of Breughel and
Bosch. The wonder for 'frankness' and 'freshness'
of the 'primitive' artists is consequently met by
unwillingness for the 'mannerist' work of Gossaert
or Jan Matsys.
Colour enhanced by nobility of material, felt
extremely sensually, is the hero of Pankiewiczovian
descriptions. Only rarely are form, shape and
perspective made note of. Distorted perpective,
flatness and uniformity of the intensification of stain;
'abstracted' view of the picture as a group of
mutually conditioned colour stains, in 1904, are of
no interest in the least to Pankiewicz-art critic.
It is perhaps an echo of experiences undergone
through encounters with Flemish primitives that a
group of still-lifes dating from 1908 were to be
composed, these being some of the most sensual
canvas echoes by the artist, in which 'a possibility to
evaluate the beauty of statues, materials,
embroidery, jewels', alongside the very high quality
of material and colour proved to be of the utmost
importance. These paintings constitute the final
stage in an evolution involving the artist's own 'cult
of the object', which proved in a series of subsequent
incarnations to be one of the most essential
components of Pankiewicz's personal vision of the
world. This 'fascination with the object', or also
'comprehension of the object' have been discussed
by Maurice Denis.
Analysis of Pankiewicz's creative work during
the years 1896-1900 reveals comparatively clearly
his dependence on the kind of aesthetic principles
represented on the one side by the mutually
associated links with Whistler, Mallarmé and the
Pamassists, while, on the other side those of Miriam
(Norwid) and the Pamassists. The artist in his article
also declares an o<7<7/6ona/ series of viewpoints
which were characteristic for the age of symbolism.
Publishing it in a defined group of texts, begun
with fragments taken from TVoa-TVoa, Pankiewicz
adds his voice to the new declarations dictated by
443
/wn? contry
An exhibition titled Frugay 7902. ÆxpoVto?? <7c
m6/<?r/MA /7o/n<:n?ć/.s' <7ey X7G AT^ et AKA .s /cc/e.s*, to
which Georges Hulin de Loo wrote a critical
catalogue containing 413 entries, unillustrated, as
well as an extensive introduction, was the second
such event that equalled in scale the watershed
ThO/ennv <2e / Tmcm/me éco/e ^éer/n^<7aAe staged in
the same city in 1867. The former spawned articles
by Max Friedlander ( 1903) and Max Dvorak ( 1903),
the latter's monograph McAtcrwcrłen <7er mA/cr-
/d??<27s-c/?6/? Tfn/erei, published in Munich in the
same year, as well as a series of other studies
comprising a clearly defined concentration in the
time-space of 1903-1908 of titles concerning
Netherlandish painting of the same period. An
article by Józef Pankiewicz ( 1866-1940), one of the
superbest Polish painters from the end of the 19th
and first half of the 20th centuries, titled IFczgs'ne
mr/GrVi-vo mrAArmVzDE na wyVnwm 7962 roła w
Frnges' (yz'c/) ('Early-Netherlandish painting agt the
1902 exhibition in Bruges') is the subject of the
study published here.
Published in June 1904 in the Polish-language
Paris monthly journal óztnła, this is the only direct
contemporaneous echo from Polish creative circles
of the exhibition. It was also the first and only
declaration on art ever published by Pankiewicz. It
serves as a vital source in any attempt to analyse the
author's creative work of the same period. It is,
finally, one of the fragments composing a picture of
artistic criticism in Poland in the first years of 'our'
century, and this last aspect equally deserves some
attention.
The initiative behind this publication may,
almost certainly, be traced to Antoni Potocki, editor-
in-chief of óztnłn and the painter's close friend. A
general review of the contents of this simply brilliant
periodical reveals the modem critieria of evaluation,
which is evident in the articles it contained first made
available to a Polish readership unfamiliar with
French about Cézanne, Gauguin, Van Gogh and
Whistler, about the colony of Polish artists in Paris
and the translations of critical as well as theoretical
texts of Poe, Delacroix, Gauguin, Van Gogh,
Whistler, Maurice Denis (De /a gmmAeAe <7as*
/wAmYf/y, appearing in Polish in óztnłn in the July
issue of 1904, simultaneously with the text originally
published in French with the same date: Lay ArA et
/<3 D'e). Pankiewicz's text was part of a whole cycle
devoted to what at that time was understood by the
common term 'art of the primitives' in its various
aspects.
The discussed article, comprising ten pages of
printed text and nineteen illustrations, is the work of
a comm Ayenr and, at the same time, of a painter. The
artist's delight was awakened by the paintings of Van
Eyck, Mending, Gérard David and the confrontation
with a disturbing realism depicted by Van der Paele
in the face of a contemporaneous canon. And yet he
walked on, unmoved by the works of Breughel and
Bosch. The wonder for 'frankness' and 'freshness'
of the 'primitive' artists is consequently met by
unwillingness for the 'mannerist' work of Gossaert
or Jan Matsys.
Colour enhanced by nobility of material, felt
extremely sensually, is the hero of Pankiewiczovian
descriptions. Only rarely are form, shape and
perspective made note of. Distorted perpective,
flatness and uniformity of the intensification of stain;
'abstracted' view of the picture as a group of
mutually conditioned colour stains, in 1904, are of
no interest in the least to Pankiewicz-art critic.
It is perhaps an echo of experiences undergone
through encounters with Flemish primitives that a
group of still-lifes dating from 1908 were to be
composed, these being some of the most sensual
canvas echoes by the artist, in which 'a possibility to
evaluate the beauty of statues, materials,
embroidery, jewels', alongside the very high quality
of material and colour proved to be of the utmost
importance. These paintings constitute the final
stage in an evolution involving the artist's own 'cult
of the object', which proved in a series of subsequent
incarnations to be one of the most essential
components of Pankiewicz's personal vision of the
world. This 'fascination with the object', or also
'comprehension of the object' have been discussed
by Maurice Denis.
Analysis of Pankiewicz's creative work during
the years 1896-1900 reveals comparatively clearly
his dependence on the kind of aesthetic principles
represented on the one side by the mutually
associated links with Whistler, Mallarmé and the
Pamassists, while, on the other side those of Miriam
(Norwid) and the Pamassists. The artist in his article
also declares an o<7<7/6ona/ series of viewpoints
which were characteristic for the age of symbolism.
Publishing it in a defined group of texts, begun
with fragments taken from TVoa-TVoa, Pankiewicz
adds his voice to the new declarations dictated by