„Polski artysta — artysta z Polski?” Problem tożsamości narodowej w badaniach nad sztuką artystów z Polski we Francji na przełomie XIX i XX wieku na przykładzie Simona Mondzaina

“POLISH ARTIST—ARTIST FROM POLAND”. THE PROBLEM OF NATIONAL IDENTITY IN RESEARCHING THE ART BY POLISH ARTISTS IN FRANCE DURING THE TURN OF THE XIX AND XX CENTURY ON THE EXAMPLE OF SIMON MODZAINThe feeling of national identity during the partition of Poland is very complex. While facing political oblivion identification was based mainly on the feeling of cultural and language distinctness, which was not easy to recognize in a multi-national country. The problem became even more complicated with immigrants, because of both imposed and spontaneous integration processes. Using the history of the Polish artistic community in France and the case study of painter Simon Mondzain as examples, the author analyzes the criteria that should be used by a modern art historian looking into the question of national identity. A question arises of how adequate the term of Polishness in a homogeneous country (and Poland after the war was such a country) is in defining the diversity represented by the artistic community living abroad during the XIX, and first half of the XX century

Les Polonaises s’organisent : les premières expositions de femmes artistes polonaises au tournant du XXe siècle

À la fin du XIXe siècle, à la suite des partages de l’Etat polonais entre la Russie, la Prusse et l’Empire austro-hongrois, les conditions du développement de l’art polonais ne sont pas favorables au sein d’une nation privée d’indépendance. Cependant, elle connaît alors une exceptionnelle prolifération de talents artistiques. Face à un manque de structures d’enseignement, de commerce et de promotion de l’art, les artistes forment des groupes pour promouvoir leur travail. Les femmes artistes, bien que privées de possibilités de formation, commencent à se professionnaliser et fonder leurs propres groupements. Les enjeux de la première exposition du Cercle des artistes polonaises en 1899 seront l’objet de notre analyse

Polska obecność artystyczna we Francji — próba oceny stanu badań

Brak

Max Weber, emigracja i tożsamość artysty

MAX WEBER, EMIGRATION AND THE ARTIST’S IDENTITYMany artists who emigrated came from the Eastern regions of Poland. Max Weber is one of the most famous among them. He was a world famous artist, considered the creator of modern American art. He was born in a factory town in a family of a Jewish tailor Krywiatycki. When he was 10 he left his home town and moved to New York. He was interested in art from a very early age and he subjugated his entire life to plans linked with it. Weber’s creative activity took on several major turns, after his parents death the artist returned to traditional Jewish culture. Thecontent of this article is an attempt to find an answer to the question about the role of the place of the artist’s origin on the development of his creative interests

Emancypantki? Artystki polskie w Paryżu na przełomie XIX i XX wieku

The author analyses the question of professional strategies of about 160 Polish female artists who came to Paris from 1890 to 1918 to study and/or to begin or continue their artistic careers. Paris was in full intellectual and economic flowering and could offer them much more than provincial centres of partitioned Poland. A historical and quantitative analysis shows female’s involvement in Parisian system of artistic education, salons and official artistic purchase by the Republic of France. The case studies of the careers of two most distinguished Polish female artists in Paris: Olga Boznańska and Mela Muter serve as examples of two different ways leading to a success, both for females, and for emigrants.The author analyses the question of professional strategies of about 160 Polish female artists who came to Paris from 1890 to 1918 to study and/or to begin or continue their artistic careers. Paris was in full intellectual and economic flowering and could offer them much more than provincial centres of partitioned Poland. A historical and quantitative analysis shows female’s involvement in Parisian system of artistic education, salons and official artistic purchase by the Republic of France. The case studies of the careers of two most distinguished Polish female artists in Paris: Olga Boznańska and Mela Muter serve as examples of two different ways leading to a success, both for females, and for emigrants

„Mieć sukces w Paryżu!” Kossakowie ojciec i syn podbijają Paryż

‘TO SUCCEED IN PARIS!’ THE KOSSAKS — FATHER AND SON — CONQUER PARIS  Paris had attracted Poles since the end of the 17th century, both for political and artistic reasons. Artists could get an education, develop their careers, and become famous. Juliusz Kossak arrived in Paris in 1855 and spent five years in the French capital, which greatly influenced his creative work. Wojciech Kossak was born in Paris, yet, having spent his childhood in Poland, he returned to the French capital to study art. Later, he visited Paris several times; during one of his visits he painted a portrait of Marshal Ferdinand Foch, the victorious leader who contributed to re-establishing peace after the First World War. For Wojciech Kossak, his success in the artistic milieu of Paris was the highlight of his artistic career, notwithstanding his success in the Motherland. The essay discusses the visits of Juliusz and Wojciech Kossak to the French capital. It pays particular attention to Wojciech Kossak’s painting of Marshal Ferdinand Foch and the artist’s attempts to conquer Paris, which he saw as a synonym of artistic success