DOI Heft:
Nr.4
DOI Artikel:Lipowski, Krzysztof: Przekroczyć ut pictura poesis: wizualizacje frazeologizmów i metafory w malarstwie Bronisława Linkego
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34904#0488
478
KRZYSZTOF LtPOWSKI
body resembles that of a robot, revealing a neverthe-
less human heart; a Linke creation connoting a iife
devoid of privacy. A series of objectifying meta-
phors may be found in both Schuman - puppet
(5c7?M777<277 - łuAfe/ła) (ii), i5) and 'General de
Gaulle delivering a speech' (Ge/i. r/e Gau//e
jorze/nawta) (ill. 16). The images of French politi-
cians were reduced to the status of objects; a puppet
and clockwork mechanism, with 'iconic' signals of
the relation between two parties included within the
space of both pictures in the form of a hand holding
the puppet and the inscription 'USA' placed on the
key operating the speaking machinę. France and
French politics are thus visua!ised as being con-
trolled by Washington DC.
Another metaphorical dcpiction by Linke is that
of Adolf Eichmann, titled plainly A<7o//"Efc/?/na77n (ill.
18), taking the fonu of the masque of a face that has
been 'removed' to reveal the true, 'ideological inside'
to the figurę in the title: the crematorium oven of a
concentration camp. The artist leaves no illusion that
Eichmann played an active part in the mass extermi-
nation carried out during the last war. This image not
only provides an example of synecdoche of objectifi-
cation, sińce the picture's construction reveals how it
was based on anything up to three Polish expressions:
'have something on your mind' (/nfeć coY na g/owfe);
'have something off your mind' (mieć coY zg/owy);
'know what you're doing' (nrfać <7o6rze wg/owte).
An especially original group comprises paintings
and drawings that bring together a theme relating to
the metaphorics of flags. This motif appears in
Linke's sketchbooks and drawings, with elear allusion
to awakening patriotic feelings. Nevertheless, in cor-
relation with the previous 16 years the artist had lived
in postwar Poland, this motif was subjected to numer-
ous forms of transformation; from the flag rising
from the ruins via the Polish United Workers' Party
standard to the 'flag of consumption' depicted in his
painting 'Circus' (Gyrł) (ill. 16).
Linke's paintings are themselves dominated by
language. The works of the artist under examination
demonstrate the harsh confrontation between the
word and the painting was effaced. Linke in his cre-
ative work ignored the crossover from word to pic-
ture and back again, sińce the borderline between
them was from his perspective an illusion. Should,
in that case, his works be treated as an argument in
favour of a thesis that questions Lessing's differen-
tiation between arts of space and time? It cannot be
ruled out that at some point in the futurę, under the
influence of the contemporary media, there shall
crystallise a new status for the word and picture.
How shall the heterogeneity so clearly visible in
Linke's works relate to this crystallisation, should it
become a feature of each fonu of media: a work of
art, film or equally a piece of literaturę?
Tran^/ata J 6y /Ute/* Martyn
KRZYSZTOF LtPOWSKI
body resembles that of a robot, revealing a neverthe-
less human heart; a Linke creation connoting a iife
devoid of privacy. A series of objectifying meta-
phors may be found in both Schuman - puppet
(5c7?M777<277 - łuAfe/ła) (ii), i5) and 'General de
Gaulle delivering a speech' (Ge/i. r/e Gau//e
jorze/nawta) (ill. 16). The images of French politi-
cians were reduced to the status of objects; a puppet
and clockwork mechanism, with 'iconic' signals of
the relation between two parties included within the
space of both pictures in the form of a hand holding
the puppet and the inscription 'USA' placed on the
key operating the speaking machinę. France and
French politics are thus visua!ised as being con-
trolled by Washington DC.
Another metaphorical dcpiction by Linke is that
of Adolf Eichmann, titled plainly A<7o//"Efc/?/na77n (ill.
18), taking the fonu of the masque of a face that has
been 'removed' to reveal the true, 'ideological inside'
to the figurę in the title: the crematorium oven of a
concentration camp. The artist leaves no illusion that
Eichmann played an active part in the mass extermi-
nation carried out during the last war. This image not
only provides an example of synecdoche of objectifi-
cation, sińce the picture's construction reveals how it
was based on anything up to three Polish expressions:
'have something on your mind' (/nfeć coY na g/owfe);
'have something off your mind' (mieć coY zg/owy);
'know what you're doing' (nrfać <7o6rze wg/owte).
An especially original group comprises paintings
and drawings that bring together a theme relating to
the metaphorics of flags. This motif appears in
Linke's sketchbooks and drawings, with elear allusion
to awakening patriotic feelings. Nevertheless, in cor-
relation with the previous 16 years the artist had lived
in postwar Poland, this motif was subjected to numer-
ous forms of transformation; from the flag rising
from the ruins via the Polish United Workers' Party
standard to the 'flag of consumption' depicted in his
painting 'Circus' (Gyrł) (ill. 16).
Linke's paintings are themselves dominated by
language. The works of the artist under examination
demonstrate the harsh confrontation between the
word and the painting was effaced. Linke in his cre-
ative work ignored the crossover from word to pic-
ture and back again, sińce the borderline between
them was from his perspective an illusion. Should,
in that case, his works be treated as an argument in
favour of a thesis that questions Lessing's differen-
tiation between arts of space and time? It cannot be
ruled out that at some point in the futurę, under the
influence of the contemporary media, there shall
crystallise a new status for the word and picture.
How shall the heterogeneity so clearly visible in
Linke's works relate to this crystallisation, should it
become a feature of each fonu of media: a work of
art, film or equally a piece of literaturę?
Tran^/ata J 6y /Ute/* Martyn