DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.55687#0394
390
Joanna Stacewicz-Podlipska
sny użytek filozofii, zapewne z chęcią zgodziłaby
się z tezą Ludwiga Wittgensteina: „Granice mego
języka oznaczają granice mego świata”.20
Źródła archiwalne
MTW TDTR 1947 = Muzeum Teatralne w Warszawie
(MTW), Teka Dokumentów Teresy Roszkowskiej
(TDTR), Ankieta dla Funduszu Kultury Narodowej
z 24 maja 1947.
MTW TDTR 1949 = MTW, TDTR, Pismo do Prezy-
dium Rady Ministrów z 11 czerwca 1949.
MTW TDTR 1956 = MTW, TDTR, Podanie do Mi-
nistra Kultury i Sztuki Karola Kuryluka z 28 wrze-
śnia 1956.
MTW TDTR 1957 = MTW, TDTR, List Arnolda
Szyfmana do Teresy Roszkowskiej z 9 lutego 1957.
Nowak = Nowak, Maciej: „Stenogramy rozmów z Tere-
są Roszkowską”, Biblioteka Instytutu Teatralnego im.
Zbigniewa Raszewskiego, Warszawa.
Bibliografia
Baniewicz 1984 = Baniewicz, Elżbieta: „Inscenizacja
i scenografia. Rozmowa z Teresą Roszkowską”, Teatr,
6 (1984): 30.
Korzeniewski 1956 = Korzeniewski, Bohdan: „W obro-
nie aniołów”, Pamiętnik Teatralny, 1 (1956): 9.
Marczak-Oborski 1968 = Marczak-Oborski, Stanisław:
Życie teatralne w latach 1944-1964, PWN, Warsza-
wa 1968.
Miłosz 2004 = Miłosz, Czesław: Zniewolony umysł, Wy-
dawnictwo Literackie, Kraków 2004.
Pruszkowski 1932 = Pruszkowski, Tadeusz: „Wariacje na
temat «Bractwa św. Łukasza»”, Kultura, 6 (1932): 4.
Stacewicz-Podlipska 2012 = Stacewicz-Podlipska, Joan-
na: „Ja byłam wolny ptak...”. O życiu i sztuce Teresy
Roszkowskiej, Instytut Sztuki PAN, Warszawa 2012.
Ursyn 1899 = Ursyn [Jan Zamarajew]: „Pracownie ki-
jowskie. Z rozmów i wrażeń”, Kraj, 13 (1899): 10.
Wittgenstein 1970 = Wittgenstein, Ludwig: Tractatus
Logico-Philosophicus, Bogusław Wolniewicz (tłum.),
PWN, Warszawa 1970.
Zagórski 1957 = Zagórski, Jerzy: „Zabijać śmiechem”,
Kurier Polski, 32 (1957): 4.
Joanna Stacewicz-Podlipska
Humility and contrariness.
Teresa Roszkowska's "making contact with art abroad"
“Its life that signs me in, I dont do it myself” - as Teresa Roszkowska responded to attempts at type-
casting her artistic practice as a representative of one trend or another. She was called a colourist painter
among the artists of Tadeusz Pruszkowskis group, and an illustrator among colourist painters, yet no
attempts at a categorisation ever produced satisfactory results - further remarks and explanations were
always necessary. It happened so because the multi-colour environment of her art was formed by elements
of a variety of origins, such as, for instance, her juvenile fascination with the art of the Mir Iskusstva circle,
the many years of dialogue with the art of Pieter Breugel, or finally, the remote echo of impressionism.
Interestingly enough, those themes maintained a harmonious co-existence, melting into an alloy with
a distinct “handwriting”. It seems to have been possible owing to the special soil on which Roszkowskas
artistic personality grew. Her childhood in Kiev, the peculiar atmosphere of her family home, the kind
of upbringing she received, and her panoramie education gave the artist a sense of being a “citizen of the
world” - and for this reason she consistently adhered to specific standards of living and creating. Original
and intransigent, she remained faithful only to herself and her own “ways of looking”, which underwent
a gradual but irrevocable transformation. She did not need any advice nor accept remarks; there was no
authority she saw above her. Yet, as she admitted herself, to “review her workshop” she needed plein airs
abroad. At the beginning of the 1930s, she was already a regular visitor to her favourite places in France and
Italy. After the war, even though the Polish reality had undergone a radical change, she had no intention
of resigning from her plein air routine. Therefore, she launched various efforts to retain the previous stare
of affairs. A record of her attempts has been kept in the form of mail correspondence, which documents
an interesting story about how not to “sign in” when someone else does it for you...
20 Wittgenstein (1970: 67).
Joanna Stacewicz-Podlipska
sny użytek filozofii, zapewne z chęcią zgodziłaby
się z tezą Ludwiga Wittgensteina: „Granice mego
języka oznaczają granice mego świata”.20
Źródła archiwalne
MTW TDTR 1947 = Muzeum Teatralne w Warszawie
(MTW), Teka Dokumentów Teresy Roszkowskiej
(TDTR), Ankieta dla Funduszu Kultury Narodowej
z 24 maja 1947.
MTW TDTR 1949 = MTW, TDTR, Pismo do Prezy-
dium Rady Ministrów z 11 czerwca 1949.
MTW TDTR 1956 = MTW, TDTR, Podanie do Mi-
nistra Kultury i Sztuki Karola Kuryluka z 28 wrze-
śnia 1956.
MTW TDTR 1957 = MTW, TDTR, List Arnolda
Szyfmana do Teresy Roszkowskiej z 9 lutego 1957.
Nowak = Nowak, Maciej: „Stenogramy rozmów z Tere-
są Roszkowską”, Biblioteka Instytutu Teatralnego im.
Zbigniewa Raszewskiego, Warszawa.
Bibliografia
Baniewicz 1984 = Baniewicz, Elżbieta: „Inscenizacja
i scenografia. Rozmowa z Teresą Roszkowską”, Teatr,
6 (1984): 30.
Korzeniewski 1956 = Korzeniewski, Bohdan: „W obro-
nie aniołów”, Pamiętnik Teatralny, 1 (1956): 9.
Marczak-Oborski 1968 = Marczak-Oborski, Stanisław:
Życie teatralne w latach 1944-1964, PWN, Warsza-
wa 1968.
Miłosz 2004 = Miłosz, Czesław: Zniewolony umysł, Wy-
dawnictwo Literackie, Kraków 2004.
Pruszkowski 1932 = Pruszkowski, Tadeusz: „Wariacje na
temat «Bractwa św. Łukasza»”, Kultura, 6 (1932): 4.
Stacewicz-Podlipska 2012 = Stacewicz-Podlipska, Joan-
na: „Ja byłam wolny ptak...”. O życiu i sztuce Teresy
Roszkowskiej, Instytut Sztuki PAN, Warszawa 2012.
Ursyn 1899 = Ursyn [Jan Zamarajew]: „Pracownie ki-
jowskie. Z rozmów i wrażeń”, Kraj, 13 (1899): 10.
Wittgenstein 1970 = Wittgenstein, Ludwig: Tractatus
Logico-Philosophicus, Bogusław Wolniewicz (tłum.),
PWN, Warszawa 1970.
Zagórski 1957 = Zagórski, Jerzy: „Zabijać śmiechem”,
Kurier Polski, 32 (1957): 4.
Joanna Stacewicz-Podlipska
Humility and contrariness.
Teresa Roszkowska's "making contact with art abroad"
“Its life that signs me in, I dont do it myself” - as Teresa Roszkowska responded to attempts at type-
casting her artistic practice as a representative of one trend or another. She was called a colourist painter
among the artists of Tadeusz Pruszkowskis group, and an illustrator among colourist painters, yet no
attempts at a categorisation ever produced satisfactory results - further remarks and explanations were
always necessary. It happened so because the multi-colour environment of her art was formed by elements
of a variety of origins, such as, for instance, her juvenile fascination with the art of the Mir Iskusstva circle,
the many years of dialogue with the art of Pieter Breugel, or finally, the remote echo of impressionism.
Interestingly enough, those themes maintained a harmonious co-existence, melting into an alloy with
a distinct “handwriting”. It seems to have been possible owing to the special soil on which Roszkowskas
artistic personality grew. Her childhood in Kiev, the peculiar atmosphere of her family home, the kind
of upbringing she received, and her panoramie education gave the artist a sense of being a “citizen of the
world” - and for this reason she consistently adhered to specific standards of living and creating. Original
and intransigent, she remained faithful only to herself and her own “ways of looking”, which underwent
a gradual but irrevocable transformation. She did not need any advice nor accept remarks; there was no
authority she saw above her. Yet, as she admitted herself, to “review her workshop” she needed plein airs
abroad. At the beginning of the 1930s, she was already a regular visitor to her favourite places in France and
Italy. After the war, even though the Polish reality had undergone a radical change, she had no intention
of resigning from her plein air routine. Therefore, she launched various efforts to retain the previous stare
of affairs. A record of her attempts has been kept in the form of mail correspondence, which documents
an interesting story about how not to “sign in” when someone else does it for you...
20 Wittgenstein (1970: 67).