Wokół roku 1948: „rewolucja łagodna” i historia sztuki
pdf

Słowa kluczowe

revolution
art after 1945
communism
autocracy
folklore

Jak cytować

Markowska, A. (2019). Wokół roku 1948: „rewolucja łagodna” i historia sztuki. Artium Quaestiones, (30), 367–391. https://doi.org/10.14746/aq.2019.30.22

Liczba wyświetleń: 456


Liczba pobrań: 212

Abstrakt

Just like after World War I Italy experienced a transition from modernism to fascism, after World War II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.

https://doi.org/10.14746/aq.2019.30.22
pdf

Bibliografia

I Wystawa Sztuki Nowoczesnej pięćdziesiąt lat później, red. M. Świca, J. Chrobak, Kraków 1998

Adamson W.L., Modernism and Fascism: The Politics of Culture in Italy, 1903–1922, „The American Historical Review” 1990, 2(95), s. 359–390

Adamson W.L., Avant-garde Florence. From Modernism to Fascism, Cambridge, MA, 1993

Adorno T.W., E. Frenkel-Bruswick et al., The Authoritarian Personality, New York 1950

Antliff M., P. Leighten, Primitivism, w: Critical Terms for Art History, red. R.S. Nelson, R. Schiff, Chicago 2003

Arendt H., O rewolucji, przeł. M. Godyń, Warszawa 2003

Art History and its Institutions. Foundations of a Discipline, red. E. Mansfield, London–New York 2002 The Artist Outsider: Creativity and the Boundaries of Culture, red. M.D. Hall, E.W. Metcalf, Jr., Washington 1994

Bochnak A., Zarys dziejów polskiej historii sztuki, Kraków 1948

Bochnak A., Malarstwo flamandzkie XVII wieku: Rubens – Jordaens – Van Dyck: wykłady uniwersyteckie z r. 1947/48, Kraków 1949

Bogucki J., Miejsce opuszczone przez dzięcioły, czyli sztuka majaczenia i dyscypliny, „Odrodzenie” 1949, 5, przedruk: W kręgu lat czterdziestych, cz. III, red. J. Chrobak, Kraków 1991, s. 32

Borejsza J., Rewolucja łagodna, „Odrodzenie” 1945, 10–12; przedruk: Czas debat. Antologia krytyki artystycznej z lat 1945–1954, opr. A. Pietrasik, P. Słodkowski, t. 1, Warszawa 2016, s. 21– 30

Dobrowolski T., Zagadnienie muzealnictwa, „Biuletyn Historii Sztuki i Kultury” 1946, 3–4(8)

Fine G.A., Self Taught Art and the Culture of Authenticity, Chicago 2004

Foucault M., Trzeba bronić społeczeństwa, tłum. M. Kowalska, Warszawa 1998

Gencarella S.O., Constituting Folklore: A Case for Critical Folklore Studies, „The Journal of American Folklore” 2009, 122(484), s. 172–196

Giddens A., The Consequences of Modernity, Cambridge 1990

Gotlib H., Projekt ustawy o przymusie wystawiania obrazów dawnych mistrzów, „Głos Plastyków” 1932, 4

Graczyk P., Sala neoplastyczna w Łodzi, „Kronos” [plik MOBI] 2015, 3, s. 51–52

Habermas J., Filozoficzny dyskurs nowoczesności, tłum. M. Łukasiewicz, Kraków 2004

Inni. Od Nikifora do Głowackiej, opr. A. Jackowski [katalog wystawy], Warszawa 1965

Kondziela H., Malinowski Kazimierz (1907–1977), w: Polski Słownik Biograficzny Konserwatorów Zabytków, Poznań 2000, 1, s. 47–49

Korduba P., Ludowość na sprzedaż. Towarzystwo Popierania Przemysłu Ludowego, Cepelia, Instytut Wzornictwa Przemysłowego, Warszawa 2013

Kubiak Sz.P., Daleko od Moskwy. Gérard Singer i sztuka zaangażowana, Szczecin 2016

Leder A., Prześniona rewolucja: ćwiczenie z logiki historycznej, Warszawa 2014

MacLagan D., Outsiders or Insiders, w: The Myth of Primitivism. Perspectives on Art, red. S. Hiller, London and New York 2005

Minturn K., Dubuffet, Lévi-Strauss, and the Idea of Art Brut, „RES: Anthropology and Aesthetics” 2004, 46, s. 247–258

Oesterreich D., Flight into Security: A New Approach and Measure of the Authoritarian Personality, „Political Psychology” 2005, 2(26), s. 275–297

Ostrowski A., Hugo Kołłątaj i łagodna rewolucja 1791 r., „Kuźnica” 1945, 4–5

Phillips R.B., Disrupting Past Paradigms: The National Museum of the American Indian and the First Peoples Hall at the Canadian Museum of Civilization, „The Public Historian” 2006, 2(28), s. 75–80

Pierson Ch., Conversations with Anthony Giddens. Making Sense of Modernity, Cambridge 1998

Piotrowski P., Globalne ujęcie sztuki Europy Wschodniej, Poznań 2018

Pokaz obrazów i dzieł sztuki ze zbiorów Potockich zabezpieczonych przez władze bezpieczeństwa przed wywozem za granicę [katalog wystawy listopad–grudzień 1946, Muzeum Narodowe], Warszawa 1946

Preziosi D., The Question of Art History, „Critical Inquiry” 1992, 2(18), s. 363–386

Preziosi D., The Art of Art History. A Critical Anthology, Oxford 2009

Reichardt R., H. Kohle, Visualising the Revolution. Politics and Pictorial Arts in Late

Eighteenth-Century France, tłum. C. Attwood, London 2008

Rich S.K., Jean Dubuffet: The Butterfly Man, „October” 2007, 119, s. 46–74

Shiner L., The Invention of Art: A Cultural History, Chicago 2001

Sławska A., „No i co teraz zrobimy?” Pamiętnik z pewnej wycieczki, Poznań 2019

Szymanowicz M., Zaburzona epoka. Polska fotografia artystyczna w latach 1945–1955, Poznań 2016

Świtek G., „Inni” w kanonie nowoczesności, w: Polska – kraj folkloru?, red. J. Kordjak, Warszawa 2016, s. 171–179

Włodarczyk W., Pięć lat, w: Zaraz po wojnie, red. J. Kordjak, A. Szewczyk, Warszawa 2015

Wojcik D., Outsider Art, Vernacular Traditions, Trauma, and Creativity, „Western Folklore” 2008, 2–3(67), s. 179–198

Woynarowski J., Taksydermia, „Kronos” [plik MOBI] 2015, 3, s. 53–59

Zachwatowicz J., Program i zasady konserwacji zabytków, „Biuletyn Historii Sztuki i Kultury” 1946, 1–2

Zaraz po wojnie, red. J. Kordjak, A. Szewczyk, Warszawa 2015

Zychowicz K., Paryska lewica w stalinowskiej Warszawie, Warszawa 2014