DOI Artikel:
Kossowska, Irena: Goya czy Grottger: dwa cykle o wojnie$nElektronische Ressource
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27558#0090
IRENA KOSSOWSKA
contents. Nevertheless, a coherent literary concept prevails over the lack of formal harmony.
The particular episodes are not related to each other in terms of a developing plot. According
to Grottger’s remarks, the structure comprises two images serving the role of a prologue and
epilogue, an introduction and two thematic parts of four links each, complementing each other.
The drawing opening the cycle, captioned Follow me through the vale of tears and the one
concluding the work, titled You Mankind, descendants of Cain!, represent the act of artistic
creating itself. The viewer observes the artist in his studio, first when he conceives the idea
of depicting war, being inspired by a Muse, and in the end, when he provides the cycle with
a powerful final accent - an image of an angry God.
Also, the drawing captioned Comet fulfills a peculiar role within the cycle. Its idyllic
scenery and warm family mood are to be contrasted with the confusion of the war incidents
and destruction of established ethical values. The sequence of eight scenes illustrating the
subject of war is opposed to the Comet and at the same time subdivided into two thematic
parts named Sadness and Demoralisation. The first one presents the dramatic dimensions of
war exemplified by scenes of conscription (Drawing of a Recruit), separation from family
{Farewell), fleeing a town on fire {Conflagration), as well as wandering and starvation {Fam-
ine). The sufferings of the war victims are contrasted with depiction of moral depravation in
episodes of betrayal {Betrayal and Punishment), stripping the dead (Men or Vultures?), brutal
massacre {It is only misery to remain) and profanation of churches (Sacrilege). The ordering
of the scenes within the two parts reflects the increase of disasters and intensification of
dramatic tension.
The overall structure of The War is meant to provide the work with monumental symbolic
dimensions and reinforce its pathetic tones. The symmetrical arrangement of the cycle modifies
the epic narration of the particular episodes in order to enhance the symbolic universal mes-
sage of the work as a whole. Nevertheless, we have to agree with Feliks Jasieński that
Grottger was not fully successful in this respect. It was Goya who achieved a synthesis of the
subject matter of war. A thorough examination of the both cycles, however, shows the common
artistic intention to present the lunacy of war both in its historical setting and in its universal
symbolic dimension.
Translated by Irena Kossowska
contents. Nevertheless, a coherent literary concept prevails over the lack of formal harmony.
The particular episodes are not related to each other in terms of a developing plot. According
to Grottger’s remarks, the structure comprises two images serving the role of a prologue and
epilogue, an introduction and two thematic parts of four links each, complementing each other.
The drawing opening the cycle, captioned Follow me through the vale of tears and the one
concluding the work, titled You Mankind, descendants of Cain!, represent the act of artistic
creating itself. The viewer observes the artist in his studio, first when he conceives the idea
of depicting war, being inspired by a Muse, and in the end, when he provides the cycle with
a powerful final accent - an image of an angry God.
Also, the drawing captioned Comet fulfills a peculiar role within the cycle. Its idyllic
scenery and warm family mood are to be contrasted with the confusion of the war incidents
and destruction of established ethical values. The sequence of eight scenes illustrating the
subject of war is opposed to the Comet and at the same time subdivided into two thematic
parts named Sadness and Demoralisation. The first one presents the dramatic dimensions of
war exemplified by scenes of conscription (Drawing of a Recruit), separation from family
{Farewell), fleeing a town on fire {Conflagration), as well as wandering and starvation {Fam-
ine). The sufferings of the war victims are contrasted with depiction of moral depravation in
episodes of betrayal {Betrayal and Punishment), stripping the dead (Men or Vultures?), brutal
massacre {It is only misery to remain) and profanation of churches (Sacrilege). The ordering
of the scenes within the two parts reflects the increase of disasters and intensification of
dramatic tension.
The overall structure of The War is meant to provide the work with monumental symbolic
dimensions and reinforce its pathetic tones. The symmetrical arrangement of the cycle modifies
the epic narration of the particular episodes in order to enhance the symbolic universal mes-
sage of the work as a whole. Nevertheless, we have to agree with Feliks Jasieński that
Grottger was not fully successful in this respect. It was Goya who achieved a synthesis of the
subject matter of war. A thorough examination of the both cycles, however, shows the common
artistic intention to present the lunacy of war both in its historical setting and in its universal
symbolic dimension.
Translated by Irena Kossowska