O „obrazach z materii” w polskiej sztuce II połowy lat 50. oraz lat 60. XX wieku
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Date
2019
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About "matter paintings" in Polish art of the second half of the 1950s and 1960s
Abstract
W pracy poddano analizie dzieła oparte na wykorzystaniu materii niemalarskich, tj. innych niż farba, tworzone przez polskich artystów w II połowie lat 50. oraz w latach 60. XX wieku. Wyróżnione dzieła zostały określone mianem „obrazów z materii”, gdyż angażowały użycie niemalarskich tworzyw, nie przekraczając jednak tradycji obrazu. Rozprawę otwiera rozdział, w którym zaprezentowano dotychczasowe ujęcia prac, polegające głównie na włączaniu ich w ramy szerszych nurtów (malarstwo materii, strukturalizm, informel). Zasadniczy korpus rozprawy stanowi 5 rozdziałów analitycznych. W każdym poddano refleksji dzieła autorstwa jednego twórcy: - „obrazy wypukłe” Jadwigi Maziarskiej interpretowane dotąd w kategoriach informel i strukturalizmu; - „kompozycje fakturowe” Bronisława Kierzkowskiego tłumaczone wcześniej na język tradycyjnych gatunków; - „konkrety” Adama Marczyńskiego ujmowane jako cytat z rzeczywistości; - obrazy Teresy Rudowicz rozpatrywane jako przykłady collage i assemblage; - kompozycje Danuty Urbanowicz łączone z twórczością hiszpańską i włoską. Każdy z rozdziałów zamyka kreślona na podstawie analiz charakterystyka danej twórczości. W zakończeniu rozprawy wskazano specyfikę „obrazów z materii” jako odrębnej tendencji w polskiej sztuce. Dopełnienie tekstu stanowi katalog, zawierający reprodukcje, dane inwentarzowe oraz opisy „obrazów z materii” omówionych artystów.
The dissertation analyzed the works based on the use of non-traditional materials, i.e. different than paint, created by Polish artists in the second half of the 1950s and in the 1960s. Those works were described as "matter paintings", as they involved the use of non-painterly materials, but they did not overpass the tradition of painting. The dissertation is opened by a chapter, which presents previous ways of conceptualising works, consisted mainly of relating them with other tendencies (matter painting, structuralism, informel). The main body of the dissertation consists of five analytical chapters. Each of them comprises works by one author: - "convex paintings" by Jadwiga Maziarska interpreted so far in the categories of informel and structuralism; - "texture compositions" by Bronisław Kierzkowski translated earlier into the language of traditional genres; - "concrets" by Adam Marczyński mainly taken as a quote from reality; - paintings by Teresa Rudowicz considered as examples of collage or assemblage; - compositions by Danuta Urbanowicz connected with Spanish and Italian works. Each of the chapters closes the characteristics of a given oeuvre based on analyzes. At the end of the dissertation the specifics of "matter paintings" as a separate tendency in Polish art were indicated. The text is complemented by a catalog containing reproductions, technical specifications and descriptions of "matter paintings" by the discussed artists.
The dissertation analyzed the works based on the use of non-traditional materials, i.e. different than paint, created by Polish artists in the second half of the 1950s and in the 1960s. Those works were described as "matter paintings", as they involved the use of non-painterly materials, but they did not overpass the tradition of painting. The dissertation is opened by a chapter, which presents previous ways of conceptualising works, consisted mainly of relating them with other tendencies (matter painting, structuralism, informel). The main body of the dissertation consists of five analytical chapters. Each of them comprises works by one author: - "convex paintings" by Jadwiga Maziarska interpreted so far in the categories of informel and structuralism; - "texture compositions" by Bronisław Kierzkowski translated earlier into the language of traditional genres; - "concrets" by Adam Marczyński mainly taken as a quote from reality; - paintings by Teresa Rudowicz considered as examples of collage or assemblage; - compositions by Danuta Urbanowicz connected with Spanish and Italian works. Each of the chapters closes the characteristics of a given oeuvre based on analyzes. At the end of the dissertation the specifics of "matter paintings" as a separate tendency in Polish art were indicated. The text is complemented by a catalog containing reproductions, technical specifications and descriptions of "matter paintings" by the discussed artists.
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malarstwo materii, informel, obrazy z materii, odwilż, nowoczesność, matter painting, informel, matter paintings, thaw, modernity