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DOI Artikel:Szczepińska-Tramer, Joanna: Józefa Pankiewicza epizod z lustrami: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35032#0472
462
JOANNA SZCZEPTŃSKA-TRAMER
Józef Pankiewicz (1866-1940) was one of the
superbest Polish painters of the end of the 19th and
first half of the 20th centuries. He lived permanently
in France from the very beginning of the dawning
century. His close friend, the distinguished painter
and teacher of the Polish artistic w/b'eM in Paris,
Pierre Bonnard, was eternalised in a painting titled
/provença/ay (1909). His great
retrospective, the first since 1933, together with
a full catalogue of his works, was displayed in 2006
in the National Museum in Warsaw, on the basis of
which the ensuing remarks have arisen.
These remarks are focused on five - not, then,
four, as stated in the exhibition catalogue of the
Pankiewicz exhibition, 'pictures with a mirror',
while the sixth, belonging to the same cycle is devoid
of any reflection. They have been selected, because
they date from the years 1902-1911, providing
a simply marvelous testimony of the decisive
transformation in the painterly vision of the world
which ensued in the artist's creative work.
In her current analysis of these five paintings, the
author of this article, who prepared a monograph and
catalogue of the painter's works during the 1960s,
adopts two main lines of thought. The first of these
follows the painterly necessities, from the tradition of
Portrait o/' /be T/wo//b?Zs', by way of the theme of
WzrcN.s'M.s' to - now then, probably to Bonnard's
mirror images. The second such interpretative course
follows problems taken up by the artist ranging from
the double - or split - image of reality created out of
the reflection in the mirror as far as the simultaneous
to this Transmitting of the glance', concentrated on
the exceptionally famous triangle of mutual relations
between the artist, model and viewer, which arise out
of friction between them over this reflection.
Particular attention concerning Pankiewicz's
perception of the subject in painting of such 'school-
book' examples as Jan Van Eyck's Por/rm/ q/* /be
T/wed/bb conp/e or Velazquez's Tas* A7er?b?u,s' serve as
the basis of the analysis published here. Moreover,
the non-Polish reader will examine in full this course
in the numerous references in this part of the article.
The afore-mentioned triangle (artist-model-
viewer) from which Pankiewicz removed the
existing self-portrait of his Por/ru// q/ H&zm
Ober/e/b (1902); a triangle by an extensively built
up play of real juxtaposed with imagined space,
returned in the same artist's painting six years later
in his Por/nP/ q/" PePPy Pry/ebyb/ (1908). In the
realising of what usually amounted to a complicated
and at the same time refined programe of this
painting, its author made use of a preparatory
photograph of the future composer, Henri Vimard
(1879-1915), French publicist and collector as well
as Pankiewicz's close friend. This photograph,
described in detail in the article, would appear to be
something more than a standard 'aid' made use of by
the painter, excelling and in effect formulating an
outline of the entire subject of the future art work.
Between the first and third version of the painting
titled Jrqpauas'e Wbwrm, completed in 1908,
a conclusion is reached of the painterly evolution in
Pankiewicz's vision prepared in the two previously-
described pictures. It contrasts with the works of
artists confronting the challenges coming from the
great works of preceding epochs to such a degree as
to represent a transformation, the testimony of which
is the painter's liberation from the necessity to filter
painterly reality by way of the subject's pretext;
a transformation coming from what the picture
/u^-eu/y towards what the picture actually /y.
7r<w?.ybr/e<7 by /be ey/bews*
JOANNA SZCZEPTŃSKA-TRAMER
Józef Pankiewicz (1866-1940) was one of the
superbest Polish painters of the end of the 19th and
first half of the 20th centuries. He lived permanently
in France from the very beginning of the dawning
century. His close friend, the distinguished painter
and teacher of the Polish artistic w/b'eM in Paris,
Pierre Bonnard, was eternalised in a painting titled
/provença/ay (1909). His great
retrospective, the first since 1933, together with
a full catalogue of his works, was displayed in 2006
in the National Museum in Warsaw, on the basis of
which the ensuing remarks have arisen.
These remarks are focused on five - not, then,
four, as stated in the exhibition catalogue of the
Pankiewicz exhibition, 'pictures with a mirror',
while the sixth, belonging to the same cycle is devoid
of any reflection. They have been selected, because
they date from the years 1902-1911, providing
a simply marvelous testimony of the decisive
transformation in the painterly vision of the world
which ensued in the artist's creative work.
In her current analysis of these five paintings, the
author of this article, who prepared a monograph and
catalogue of the painter's works during the 1960s,
adopts two main lines of thought. The first of these
follows the painterly necessities, from the tradition of
Portrait o/' /be T/wo//b?Zs', by way of the theme of
WzrcN.s'M.s' to - now then, probably to Bonnard's
mirror images. The second such interpretative course
follows problems taken up by the artist ranging from
the double - or split - image of reality created out of
the reflection in the mirror as far as the simultaneous
to this Transmitting of the glance', concentrated on
the exceptionally famous triangle of mutual relations
between the artist, model and viewer, which arise out
of friction between them over this reflection.
Particular attention concerning Pankiewicz's
perception of the subject in painting of such 'school-
book' examples as Jan Van Eyck's Por/rm/ q/* /be
T/wed/bb conp/e or Velazquez's Tas* A7er?b?u,s' serve as
the basis of the analysis published here. Moreover,
the non-Polish reader will examine in full this course
in the numerous references in this part of the article.
The afore-mentioned triangle (artist-model-
viewer) from which Pankiewicz removed the
existing self-portrait of his Por/ru// q/ H&zm
Ober/e/b (1902); a triangle by an extensively built
up play of real juxtaposed with imagined space,
returned in the same artist's painting six years later
in his Por/nP/ q/" PePPy Pry/ebyb/ (1908). In the
realising of what usually amounted to a complicated
and at the same time refined programe of this
painting, its author made use of a preparatory
photograph of the future composer, Henri Vimard
(1879-1915), French publicist and collector as well
as Pankiewicz's close friend. This photograph,
described in detail in the article, would appear to be
something more than a standard 'aid' made use of by
the painter, excelling and in effect formulating an
outline of the entire subject of the future art work.
Between the first and third version of the painting
titled Jrqpauas'e Wbwrm, completed in 1908,
a conclusion is reached of the painterly evolution in
Pankiewicz's vision prepared in the two previously-
described pictures. It contrasts with the works of
artists confronting the challenges coming from the
great works of preceding epochs to such a degree as
to represent a transformation, the testimony of which
is the painter's liberation from the necessity to filter
painterly reality by way of the subject's pretext;
a transformation coming from what the picture
/u^-eu/y towards what the picture actually /y.
7r<w?.ybr/e<7 by /be ey/bews*