Естетичний код творчого об’єднання “ Молода Польща ”

Abstract

У статті проаналізовано принципи, методи і завдання творчого об’єднання “Молода Польща”, які застосовували художники у своїй мистецькій праці. Описано діяльність митців у головному центрі функціонування “Молодої Польщі” – Кракові та їх вплив на інші культурні центри Польщі. Перераховано найвідоміших діячів першої величини в напрямі образотворчого мистецтва: Л. Вичулковський, Я. Мальчевський, Й. Панкевич, С. Виспянський, Й. Мехоффер, Я. Станіславський, Ф. Рушиць, В. Вейс. Охарактеризовано художні напрями, яких дотримувалися польські митці, котрі містили певний мистецький шифр, виражали патріотичні погляди художників та їх мрії про свободу Польщі і стали головними характерними рисами європейського живопису на межі ХІХ–ХХ століть.

В статье проанализированы принципы, методы и задачи творческого объединения “Молодая Польша”, которые применяли художники в своей творческой работе. Описана деятельность художников в главном центре функционирования “Молодой Польши” – Кракове и их влияние на другие культурные центры Польши. Перечислено самых известных деятелей первой величины в направлении изобразительного искусства: Л. Вычулковский, Я. Мальчевский, И. Панкевич, С. Выспяньский, И. Мехоффер, Я. Станиславский, Ф. Рушиць, В. Вейс. Охарактеризованы художественные направления, которых придерживались польские художники, содержащие определенный художественный шифр, выражали патриотические взгляды художников и их мечты о свободе Польши и стали главными характерными чертами европейской живописи на рубеже ХIХ–ХХ веков.

Creativity of Polish artists at the end of XIX – early XX century. transformed in the direction of symbolism, impressionism, decadence. Throughout Europe creative associations are created, such as: “Young Belgium”, “Young Scandinavia”, “Young Germany”. Poland is no exception. Creative association “Young Poland” gives impulse to all artists to a progressive renewal. An analysis of recent research on the Polish art of the secession era and the creative association “Young Poland” suggests different approaches to assessing the artistic movement of that time. The purpose of the article is to characterize and analyze the factors that led to the creation of a creative association “Young Poland”, to trace the changes experienced by the artists under the influence of the new aesthetics of this society. In the late eighteenth century, Poland, devoid of statehood, was in deep spiritual crisis. Attempts by the creative elite to inspire their people and to support national self-consciousness did not succeed. Only a century later a new generation of Polish artists, armed with the ideas of the innovative direction of the “modern”, was able to create its own national art. The vanguard of the renewal was the creative association “Young Poland” (1895–1914). The creative spectrum of the association covered all spheres of art: painting, poetry, music, architecture and design. The main goal of the young poles was the struggle against the decline of the bourgeois circles The writer and publicist S. Pshibyshevsky was one of the most famous figures of “Young Poland”, as a representative of the modern era, formulated the principles of the art of his generation and continued to develop the ideas of secession. After his arrival from Berlin to Krakow, the writer heads the Polish bohemian and receives the title of “Genial Pole”. The artist-critic is interested in gothic, medieval rituals, and psychology. The center of activity of “Young Poland” was Krakow. The main artistic direction of that time, “modern”, was associated primarily with Paris. Society members were convinced that their work should be inextricably linked with the idea of national renaissance. However, imbued with sufficiently classical landscapes and epic historical canvases, young artists chose more radical methods, gaining strength in the atmosphere, gaining liberalism and the spirit of resistance. The most famous place of the collection of creative youth of Krakow was “Lviv confectionery”. Among the permanent visitors to the confectionary of Mikhalyk was a lot of artists, which later became the pride of Polish culture of the early twentieth century. Of particular note is Jan Stanislavsky, Leon Vychulkovsky and Felix Yasensky. One of the first and brightest stars of the cafe was Stanislav Vispiansky, a painter, playwright and designer, who later headed the “Young Poland” and is still honored in Krakow as one of the most gifted creators The generally accepted dates of the “Young Poland” period are 1890–1914. Around 1890 appeared impressionism, soon symbolism and secession, which crystallized for decades, depicted by the dates 1900–1910. This period should recognize the “combat phase” of modernism. For it was the creative flourishing of S. Vispiansky and J. Mehoffer, as well as V. Wojtkiewicz’s artistic creation is very symptomatic for the epoch. At that time the activity of the art association “Sztuka” was revived. All artists who created at that time can be divided into impressionists, symbolists and decadents. To the artists who wrote in the impressionist style with the transition to symbolism, include: Vladislav Podkovsky, Joseph Pankevich, Leon Vichulkovsky, Wojciech Weiss, Alfonso Karpinsky, Ignatius Penkovsky. If Impressionism was perceived by Polish society without much favor, then the symbolism that was associated with literature, found a greater response in the hearts of connoisseurs. Painting in Poland at the turn of the XIX–XX centuries. outlined two main directions: the conservative, the so-called realism and academicism of the XIX century, as well as the direction more relevant, which was based on impressionism. Summing up, it should be noted that the era of “Young Poland” – an important artistic phenomenon, which gave rise to many masters, each of which was a bright individuality. Despite belonging to one circle, they all remained original, expressing their peculiar attitude. The depth of those that were revealed to them, their multi-layered interpretations, and the development of individual artistic handwriting became the main characteristic features of Polish painting at the turn of the nineteenth and twentieth centuries.