DOI Heft:
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DOI Artikel:Lisiewicz, Małgorzata: Sala Neoplastyczna: od kobiety ornamentu do kobiety instrumentu
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34904#0464
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MAŁGORZATA LtSIEWICZ
The objective of this article is to conduct a revision
of the meanings attributed in Polish art history to
a piece of work regarded as an 'iconic' Polish mu-
seum piece by Władysław Strzemiński, a leading
representative of constructivism, titłed Pet/er
ń/eop/^tycznn. The text proposes considering afresh
the tangle of evidence relating to the rise of this
work, such as the time its creation required, the title
its author chose to give it ("Oenwe neoy/a^ń^ne")
and that artisTs works in the field of theory and prac-
tice in the designing of spatial forms. This last-men-
tioned aspect, in the opinion of this author, demands
revision in respect to the fact that Strzemiński suf-
fered from monocular vision; a disability that must
have influenced the painter's spatial imagination.
The main axis of the here-contained analysis of Sń/a
ń/eop/a^tyczner is above all else the work itself (or
rather this design's reconstruction), and in particular
an arrangement in its rangę of works by the artisfs
wife, Katarzyna Kobro, the eminent sculptress. The
spatial solution, based among other factors on the
monotonous rhythm of repetition contradicts the
theoretic postulations of both artists. Taking into
consideration the above-mentioned postulations, the
analysis presented here sets out anew how the spatial
arrangement proposed by Strzemiński might be in-
terpreted, demonstrating it, among other things, as
an attempt to adapt his concept of art to the ideologi-
cal visions of those times, as well as a form of cod-
ing in artistic form the compensations of his małe
ambitions in his manipulating of Kobro both as a
human being and sculptress.
pT/n.s/ete<r/ by Peter dTnrtyn
MAŁGORZATA LtSIEWICZ
The objective of this article is to conduct a revision
of the meanings attributed in Polish art history to
a piece of work regarded as an 'iconic' Polish mu-
seum piece by Władysław Strzemiński, a leading
representative of constructivism, titłed Pet/er
ń/eop/^tycznn. The text proposes considering afresh
the tangle of evidence relating to the rise of this
work, such as the time its creation required, the title
its author chose to give it ("Oenwe neoy/a^ń^ne")
and that artisTs works in the field of theory and prac-
tice in the designing of spatial forms. This last-men-
tioned aspect, in the opinion of this author, demands
revision in respect to the fact that Strzemiński suf-
fered from monocular vision; a disability that must
have influenced the painter's spatial imagination.
The main axis of the here-contained analysis of Sń/a
ń/eop/a^tyczner is above all else the work itself (or
rather this design's reconstruction), and in particular
an arrangement in its rangę of works by the artisfs
wife, Katarzyna Kobro, the eminent sculptress. The
spatial solution, based among other factors on the
monotonous rhythm of repetition contradicts the
theoretic postulations of both artists. Taking into
consideration the above-mentioned postulations, the
analysis presented here sets out anew how the spatial
arrangement proposed by Strzemiński might be in-
terpreted, demonstrating it, among other things, as
an attempt to adapt his concept of art to the ideologi-
cal visions of those times, as well as a form of cod-
ing in artistic form the compensations of his małe
ambitions in his manipulating of Kobro both as a
human being and sculptress.
pT/n.s/ete<r/ by Peter dTnrtyn