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themtheopportunity(atleasttheoretically)tothoroughlyexperiencethebroadin-
ternationalartisticenvironmentinthecapitalofItaly.Theirolderbrothers-in-arms
whograduatedbeforethewar,suchasStanisławWestwalewicz,JózefJaremaorJózef
Matuszczak,infactco-createdtheRomanartisticenvironment.Theyhadachance
toconfronttheirpre-warexperiencesandartisticachievementswithnewtendencies
inEuropeanart.
Thankstothearchivesourcesdatingbacktothetimeofwarandthefirstpost-
-waryearsdiscoveredbythepresentauthorinRome,itwaspossibletorecreatethe
listofallthePoleswhosignedforandparticipatedintheclassesinLiceoArtistico
andRomanAccademiadiBelleArti,aswellasthegeographyoftheirwar-broken
lives.Theinsightintoso-farunknownfacts,especiallythoserelatedtotheteachers
andworkshopsatAccademiadiBelleArtiishelpfulinunderstandingoftheartistic
choicesandstylisticinfluences,whichbecameapparentamongtheBohusz’sgroup
onlyaftertheirreturntoGreatBritain,wheretheystartedtheirstudiesattheartistic
schoolsinLondon.Infact,theyoungadeptsofartwhohadbeentrainedattheAcad-
emyofFineArtsinRomeapproachedthequestionsofstyleandmethodinadifferent
waythanthosestudentswhoseartisticformationwasbased(sometimesentirely)on
theircontactwithBohusz.However,eveninthelattergroup(ofBohusz’sstudents)
therecouldbeobservedsomenoticeabledivisions,especiallywhennewartistsjoined
thegroupinthecampsofSudburyandKingwoodCommon.Thosewhohadnot
experiencedKBohusz’sRome”included,forinstance,TadeuszZnicz-MuszyńskiorJan
MarianKościałkowski,whodidnothavemuchincommonwiththenestorofPolish
paintersonemigration.
Iwasabletodiscoveradditionalarchivalandiconographicmaterials,asyet
unknown,butcrucialforthepresentstudy,intheprivatearchivesofKarolBadu-
ra,thepainter.ThenewsourcesarenowlocatedinthePapieskiInstytutStudiów
Kościelnych(PontificalInstituteofEcclesiasticalStudies).Theyhavebeenenriched
withthepreviouslyunidentifiedandunpublishediconographicmaterialfromthe
collectionofBadura’swife,VittoriaBenassai,afamousRomanpainter,andpartially
fromthefamilyarchive,whichisnowinthepossessionofthepainter’sdaughterand
son.Thesenewly-foundsourceshaveenhancedourknowledgeaboutthePolishartis-
ticcirclesinRomecentredaroundGeneralAnderswithpreviouslyunknownworks
ofthePolishartistandhisItalianpartner.Theywerealsohelpfulinbringingforth
thetracesofPolishartisticpresenceinArgentina,whichbecamethedestinationfor
alargenumberofPolishartists,whomigratedtheremostlyfromtheterritoryofItaly.
Thepresentstudyisanattemptatshowingapanoramaofartisticphenomena
withinthegroupofPolishvisualartistsrescuedfromSovietenslavementbyGeneral
Anders.Bereftoftheirhomelandbythewindsofwar,thegroupwasconsolidating
forsevenyears,tryingtoco-createtherealityofthe20thcenturyEuropeanartby
theircreativecontributionintheareaofpainting,sculptureandgraphicarts,bytheir
exhibitionactivitiesandbytheireffortstostayintouchwiththelatestartisticde-
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