{"id":108,"date":"2021-12-08T15:22:31","date_gmt":"2021-12-08T14:22:31","guid":{"rendered":"https:\/\/www.czapski.cz\/?page_id=108"},"modified":"2021-12-22T14:11:41","modified_gmt":"2021-12-22T13:11:41","slug":"painter","status":"publish","type":"page","link":"https:\/\/www.czapski.cz\/index.php\/en\/painter\/","title":{"rendered":"Painter"},"content":{"rendered":"\n

\u201cHidden hands of admiration\u201d \u2013 J\u00f3zef Czapski as a painter of the everyday<\/strong><\/h3>\n\n\n\n

J\u00f3zef Czapski was almost two metres tall. Art critics noticed a specific perspective in his paintings. The painter himself explained in an interview that it was related to his height. \u201cThe resulting composition is the result of a tall person\u2019s viewpoint\u201d, he claimed. But is that really the only cause?<\/p>\n\n\n\n

\u201cCzapski was always fascinated by reflection, always fascinated by mirrors, panes of glass, open windows, glass door panels, and puddles on the asphalt. He was fascinated by everything that can be perceived as a motif in a painting, and in his paintings this is manifested almost obsessively,\u201d wrote his friend Konstanty Jele\u0144ski.<\/p>\n\n\n\n

\"\"
Future painters. i.a. J\u00f3zef Czapski (third from the upper right), Zygmunt Waliszewski, Wojciech Weiss, Kazimierz Miter, [Tesler] and in. Akademia Sztuk Pi\u0119knych (Academy of Fine Arts). Krakow, 1922-1923. Photopaper, 8,8\u00d713,7 cm, nr. inv. MNK VIII-rkps.2414\/3<\/figcaption><\/figure>\n\n\n\n

He was fascinated by the metro as an anti-landscape. However, he was also very fond of painting distant views of rural landscapes, fields, sunsets \u2013 all of these were usually the results of stays in the French countryside (e.g., near the village of Sailly).<\/p>\n\n\n\n

Konstanty Jele\u0144ski saw Czapsky as a precursor of Pop Art:<\/p>\n\n\n\n

\u201cCzapski began painting forty years before television, but he was one of the first painters who could see the potential richness, diversity, and variety of meaning in the forms of urban industrial civilization, which later became the domain of Pop Art. This is, of course, different from an old chair or van Gogh\u2019s shoes, since \u201cugliness\u201d of this type has had access to the realm of \u201cBeauty\u201d for a hundred years. Nor am I talking about neon signs, whose reflections in the wet asphalt can captivate even the most sophisticated and traditional aesthete. Moreover, Czapski\u2019s interest in cinema posters, sewer pipes, tram interiors or the Paris metro has nothing to do with the distress that fought its way into the work of Grosz or Dix as a protest against social conditions. Czapski\u2019s relationship to the kaleidoscope of industrial civilization is based \u2013 like that of the young representatives of Pop Art \u2013 on sheer fascination, and is often associated with humour.<\/p>\n\n\n\n

Czapski\u2019s painting is pioneering in relation to new figuration and pop art. Forty years ago, his paintings intimidated viewers with their vibrant colours and brutality of subject matter, his forms seeming to emerge from a passionate defeat [\u2026]<\/p>\n\n\n\n

The construction of Czapski\u2019s early paintings anticipates today\u2019s advertising posters, the images on the covers of colourful magazines. Czapski intuitively sensed the possibilities that the camera lens would not popularize until much later, a bold new layout, a new construction that combines the precision of the film frame with the abstraction of the viewing angle. In Czapski\u2019s earlier paintings, we encounter elements of architecture or decoration borrowed from Art Nouveau, or Modern Style.\u201d<\/p>\n\n\n\n

He found his \u201chidden hands of admiration\u201d in backyards, in people in restaurants and bars, in the metro, on the street, captured in windows, during theatre and opera performances or on beaches \u2013 in short, in everyday life. Alongside this, still lifes whose main protagonists are objects of ordinary, everyday necessity, common and simple, such as bowls and rags. Then, landscapes from the countryside and the seashore, portraits, and self-portraits. \u201cI wasn\u2019t looking for any extra effect. I was fascinated by detail. I loved old faces,\u201d Czapski claimed. This is the world in J\u00f3zef Czapski\u2019s paintings and drawings.<\/p>\n\n\n\n

Texts by El\u017cbieta Skoczek<\/sup><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cHidden hands of admiration\u201d \u2013 J\u00f3zef Czapski as a painter of the everyday J\u00f3zef Czapski was almost two metres tall. Art critics noticed a specific perspective in his paintings. The painter himself explained in an interview that it was related to his height. \u201cThe resulting composition is the result of a tall person\u2019s viewpoint\u201d, he… Pokra\u010dovat ve\u00a0\u010dten\u00ed Painter<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-108","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/pages\/108","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/comments?post=108"}],"version-history":[{"count":5,"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/pages\/108\/revisions"}],"predecessor-version":[{"id":329,"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/pages\/108\/revisions\/329"}],"wp:attachment":[{"href":"https:\/\/www.czapski.cz\/index.php\/wp-json\/wp\/v2\/media?parent=108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}