DOI Artikel:
Danielewicz, Iwona: The Collection of Gabriela Zapolska
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0141
boredom, while upbraiding artists for their competition for awards and
commissions. She contrasts the tumult and crowds of the Paris salons with the
ąuiet life of those artists fuli of religious concentration, among the rough but
harmonious beauty of landscape of Brittany. “Their paintings flow like songs
and fairy tales. [...] The harmony of colour and linę structures their thinking.
Pink dawns, opal stripes of early morning mist, golden afternoons, and purple
sunsets play in their colours. And form and lme emerge from the figures of
trees, the shades of mountains, the profiles of children, or old people singing
among the bells and the crooked cemetery gates - this is a return to naturę,
to the triumphant, the true, the only beauty, [...] In the straw of their
thatched roofs, dressed in peasant costumes, [...] they capture entire days -
a Pre-Raphaelite techniąue - unwinding dreamy paintings on the canvas, some
happy moment from the soul of the artist, preserved with enchanting power,
not like a photograph, but as a spiritual State which the artist experienced at
that moment.”'11 In 1901 Zapolska’s artistic views still aroused amazement or
unintelligibility, just like the works of Gauguin, van Gogh, Seurat, Serusier,
and Ranson from her own collection exhibited 5 years later.
Translated by Robert Kirkland
90 Publicystyka, op. cit., III, p. 49.
commissions. She contrasts the tumult and crowds of the Paris salons with the
ąuiet life of those artists fuli of religious concentration, among the rough but
harmonious beauty of landscape of Brittany. “Their paintings flow like songs
and fairy tales. [...] The harmony of colour and linę structures their thinking.
Pink dawns, opal stripes of early morning mist, golden afternoons, and purple
sunsets play in their colours. And form and lme emerge from the figures of
trees, the shades of mountains, the profiles of children, or old people singing
among the bells and the crooked cemetery gates - this is a return to naturę,
to the triumphant, the true, the only beauty, [...] In the straw of their
thatched roofs, dressed in peasant costumes, [...] they capture entire days -
a Pre-Raphaelite techniąue - unwinding dreamy paintings on the canvas, some
happy moment from the soul of the artist, preserved with enchanting power,
not like a photograph, but as a spiritual State which the artist experienced at
that moment.”'11 In 1901 Zapolska’s artistic views still aroused amazement or
unintelligibility, just like the works of Gauguin, van Gogh, Seurat, Serusier,
and Ranson from her own collection exhibited 5 years later.
Translated by Robert Kirkland
90 Publicystyka, op. cit., III, p. 49.