W poszukiwaniu porządku. Idea nowego klasycyzmu Aristide’a Maillola a polscy rzeźbiarze

Abstract

In pursuit of order: the idea of the new classicism of Aristide Maillol and Polish sculptors

As Maurice Denis observed in as early as 1909, the trend towards a new classicism, subsequently labelled the rappel à l’ordre or retourne à l’ordre, embodied, as many contemporary critics emphasised, a yearning for logic, compact construction, as well as an expression of a general desire for stability occasioned by the experience of war, and the classical tradition offered a haven of moderate peace and order. Such tendencies were also stimulated by research undertaken by eminent humanists and increasing activity in the field of archaeology dating from the turn of the century. This was also an era of inordinate fragmentation of form and rough, shattered surface in the field of global sculpture, despite the lessons taught by Rodin. Tectonics and monumentality, the essence of sculpture, now became paramount. Compact, static forms, a balance of masses, a sense of proportion, frugal modelling, simplified means of expression, carefully executed detailing and tasteful form – these became the features of sculptures which, beginning with the work of Aristide Maillol, can also be regarded as characteristic of Polish sculptors at the start of the 20th century. The work of Maillol occupied an important position in the consciousness of Polish artistic circles and was a major source of influence. Polish sculptors such as Henryk Kuna (1879–1945), Edward Wittig (1879–1941) and August Zamoyski (1893–1970) found inspiration in the work of Maillol, which consequently influenced the direction in which their own work developed. Elie Nadelman (1882–1946), one of the leading representatives of the new classicism in sculpture, also found himself within the orbit of this tendency. Nadelman believed that “art is harmony”, and referred to the art of Antiquity, since it was there that he found the ideal towards which he was striving – that of logic in the construction of forms. Making use of forms deriving from Antiquity, he was able to create sculptures that were modern in their expression.The work of Maillol was the subject of analysis by art critics including Waldemar George and Adolf Basler, both of whom came from Poland and exerted a great influence upon Polish artists. George was a proponent of the new classicism and the author of the first monograph on Maillol. The present text discusses how the work of Aristide Maillol and the idea of the new classicism influenced formal and aesthetic investigations in works by Polish sculptors.