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LIFE and CHIMERA: FRAMING MODERNISM in POLAND By LIFE AND CHIMERA: FRAMING MODERNISM IN POLAND by JUSTYNA DROZDEK Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Dissertation Advisor: Dr. Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY August, 2008 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2008 by Justyna Drozdek All rights reserved To mama and tata Table of Contents List of Figures 2 Acknowledgements 7 Abstract 9 Introduction 11 Chapter 1: Poland: A Historical and Artistic Context 38 Chapter 2: Life’s Editorial Directions: Crafting a Modernist Journal 74 Chapter 3: Life’s Visual Program: From Tropes to “Personalities” 124 Chapter 4: Chimera and Zenon Przesmycki’s Polemical Essays: Artistic Ideals 165 Chapter 5: Chimera’s Visual Program: Evocation and the Imagination 210 Conclusion 246 Appendix A: Tables of Contents for Life (1897-1900) 251 Appendix B: Tables of Contents for Chimera (1901-1907) 308 Figures 341 Selected Bibliography 389 1 List of Figures Figure 1. Jan Matejko. Skarga’s Sermon [Kazanie Skargi]. 1864. Oil on canvas. 224 x 397 cm. Royal Castle, Warsaw. Figure 2. Karel Hlaváček. Cover for Moderní revue. 1897. Figure 3. Wojciech Weiss. Youth (Młodość). 1899. Reproduced in Life 4, no. 1 (1900): 2. Figure 4. Gustav Vigeland. Hell. 1897. Bronze. National Galley, Oslo. Two fragments of the relief were reproduced in Life 3, 7 (1899). Figure 5. Wojciech Weiss. Obsession [Opętanie]. 1900. Oil on canvas. 100 x 85 cm. Adam Mickiewicz Museum of Literature. Figure 6. Page from Life 2, no. 15 (1898): 173. Figure 7. Page from Life 2, 25 (1898): 304. Figure 8. Henryk Rauchinger. Title vignette for Life 1, no. 1 (1897): 1. Figure 9. Title page of Life 2, no. 26 (1898). Figure 10. Stanisław Wyspiański. Study. Reproduced in Life 2, no. 31 (1898): 397. Figure 11. Stanisław Wyspiański. Title vignette for Life 1, no. 2 (1897): 1. Figure 12. Stanisław Wyspiański. Caritas. Reproduced in Life 2, 23 (1898): 273. Figure 13. Stanisław Wyspiański. Maternity [Macierzyństwo]. 1905. Pastel. 91 x 58.8 cm. National Museum, Krakow. Figure 14. Ephraim Moses Lilien. Vignette. As reproduced in Life 1, no. 9 (1897): 6. Figure 15. Bolesław Nitecki. Title vignette for Life 1, no. 14 (1897): 1. Figure 16. Teodor Axentowicz. Title vignette for Life 1, no. 10 (1897): 1. Figure 17. Teodor Axentowicz. Girl with a Vase [Dziewczyna z wazonem]. 1903. Algraphy, black crayon, paper. 45.5 x 30 cm. Figure 18. Teofil Terlecki. Title vignette for Life 2, no. 22 (1897). Figure 19. Teodor Axentowicz. Cover vignette for Life. 1898. 2 Figure 20. Teodor Axentowicz. Poster design for the 2nd exhibition of the Society of Polish Artists “Sztuka.” 1898. Color lithograph, paper. 93 x 62 cm. National Museum, Krakow. Figure 21. Stanisław Wyspiański. View of the Kościuszko Mound from Studio Window [Widok z okna pracowni na Kopiec Kościuszki]. 1904. Pastel. 46.5 x 60.5 cm. Private collection. Figure 22. Antoni Stanisław Procajłowicz. Title vignette for Life 2, no. 2 (1898): 1. Figure 23. Jan Stanisławski. Winter [Zima]. As reproduced in Life 1, no. 11 (1897). Figure 24. Jan Stanisławski. Crosses in the Wilderness [Krzyże na pustkowiu]. As reproduced in Life 1, no. 6 (1897): 3. Figure 25. Stanisław Janowski. Vignette. As reproduced in Life 2, no.31 (1898): 410. Figure 26. Józef Mehoffer. Sketch for The Youth of Art [Młodość sztuki]. 1897. Watercolor on paper. 55 x 35 cm. Private collection. Figure 27. Józef Mehoffer. Drawing from The Youth of Art. Figure 28. Leon Wyczółkowski. The Visitation [Odwiedziny]. Reproduced in b&w in Life 1, 14 (1898): 7. Figure 29. Jacek Malczewski. A Slave’s Inspiration [Natchnienie niewolnika]. C. 1898. As reproduced in Life 2, 26 (1898): 321. Figure 30. Ephraim Moses Lilien. Poetry and Painting [Poezya i malarstwo]. Title vignette for Life 1, 3 (1897): 1. Figure 31. Stanisław Wyspiański. Cycle of The Four Elements [Cztery Żywioły]. Sketches for the polychrome designs for the Franciscan Church, Krakow. 1895-1897. Crayon drawings. All 71.5 x 14.5 cm except Earth (77.8 x 14.5 cm). Location unknown. Figure 32. Karel Hlaváček. Title vignette for Life 1, no. 11 (1897): 1. Figure 33. Ephraim Moses Lilien. Title vignette for Life 1, no. 12 (1897): 1. Figure 34. Title page. Life 2, no. 40/41 (1898). Figure 35. Title page. Life 2, no. 43 (1898). 3 Figure 36. Stanisław Wyspiański. Sesame’s Treasures [Skarby Sezamu]. 1897. Pastel on paper. 202 x 240 cm. National Museum, Kielce. Reproduced in b&w in Life 2, no. 47 (1898): 629. Figure 37. Edvard Munch. Harpy. 1894. Drypoint print. Munch museet, Oslo. Reproduced as The Phantom (Upiór) in Life 3, no. 40/41 (1899): 524. Figure 38. Wojciech Weiss. The Dance (Taniec). 1899. Oil on canvas. 65 x 99 cm. Private collection. Reproduced in Life 4, no. 1 (1900): np. Figure 39. Karel Hlaváček. Vignette. Reproduced in Life 2, no. 20 (1898): 232. Figure 40. Karel Hlaváček. Vignettes. Reproduced in Life 2, 40/41 (1898): 533. Figure 41. Karel Hlaváček. My Christ (Self-portrait). Reproduced as Self (Jaźń) in Life 2, no. 42 (1898): 552. Figure 42. Jan Stanisławski. Poplars [Topole]. 1901. 5-color lithograph. Insert to Chimera 3, 7/8 (1901). Figure 43. Józef Mehoffer. Cover for Chimera 7, no. 19 (1904). Figure 44. Edward Okuń. Cover vignette for Chimera 1, no. 3 (1901). Figure 45. Alfons Mucha. Cover design for Ver Sacrum (November 1898). Figure 46. Edward Okuń. Cover design for Chimera 6, no. 17 (1902). Figure 47. Gustave Moreau. Salome. 1876. Drawing. Reproduced in Chimera 10, no. 28-29 (1907): 189. Figure 48. Felicien Rops. La Grande Lyre. Insert to Chimera 3, no. 7/8 (1901). Figure 49. Tymon Niesiołowski. Queen of the Spiders [Pająków królewna]. Reproduced in Chimera 9, no. 27 (1905): 469. Figure 50. Józef Mehoffer. Vignette for Sons of the Earth [Synowie ziemi] by Stanisław Przybyszewski. Chimera 1, no. 3 (1901): 401. Figure 51. Konrad Krzyżanowski. Cover for Chimera 3, no. 9 (1901). Figure 52. Edward Okuń. Cover vignette for Chimera 1, no. 1 (1901). Figure 53. Edward Okuń. Cover for Chimera 10, no. 28/30 (1907). Figure 54. Edward Okuń. Cover vignette for Chimera 7, no. 20/21 (1904). 4 Figure 55. Edward Okuń. Portrait [Portret]. 1902. Zincotype. Reproduced in Chimera 10, no. 28/29 (1907): 237. Figure 56. Fernand Khnopff. Dreaming Woman – Nevermore. C. 1900. Reproduced as title page for “Select Works of Georges Rodenbach” in Chimera 4, no. 10/12 (1901): 187. Figure 57. Fernand Khnopff. Frontispiece for Bruges-la-morte by George Rodenbach. 1892. Reproduced as a vignette in Chimera 4, no. 10/12 (1901): 215. Figure 58. Józef Mehoffer. Cover vignette for Chimera 1, no. 2 (1901). Figure 59. Stanisław Dębicki. Cover for Chimera 3, no. 7/8 (1901). Figure 60. Gustave Moreau. The Chimera. 1867. Oil on panel. 33.02 x 27.31 cm. Harvard University Art Museums, Fogg Art Museum. Heliogravure by R. Paulussen. Insert to Chimera 1, no.1 (1901). Figure 61. Maryan Wawrzeniecki. Cover for Chimera 2, no. 6 (1901). Figure 62. Ignacy Pieńkowski. Annunciation. Half-tone etching. Insert to Chimera 10, no. 28/30 (1907). Figure 63. Józef Mehoffer. Cover for 6, no. 18 (1902). Figure 64. Edward Burne-Jones. King Cophetua and the Beggar Maid. Heliogravure by R. Paulussen. Insert to Chimera 6, no. 16 (1902). Figure 65. Edward Okuń. Initial “P.” Reproduced in Julius Zeyer’s “King Cophetua.” Chimera 6, no. 16 (1902): 3. Figure 66. Edward Okuń. Vignette. Reproduced in Julius Zeyer’s “King Cophetua.” Chimera 6, no. 16 (1902): 4. Figure 67. Edward Okuń. Vignettes for “Judas” by Jan Kasprowicz. Chimera 4, no. 10/12 (1901): 144. Figure 68. Edward Okuń. Vignette for “Judas” by Jan Kasprowicz. Chimera 4, no. 10/12 (1901): 162. Figure 69. Edward Okuń. Vignette for “Judas” by Jan Kasprowicz. Chimera 4, no. 10/12 (1901): 163. 5 Figure 70. Józef Mehoffer. Vignette for “Sons of the Earth” by Stanisław Przybyszewski. Chimera 2, 4/5 (1901): 268. Figure 71. Konrad Krzyżanowski’s tracing of a detail from Hiroshige’s “Juman tsubo plain at Suzaki, Fukagawa” from One hundred views of famous places of Edo. 1857. Reproduced in “Japanese Woodblocks” by Zenon Przesmycki. Chimera 1, no. 3 (1901): 507 Figure 72. Stanisław Dębicki. Initial “B” for "Japanese Woodblocks” by Zenon Przesmycki. Chimera 1, no. 2 (1901): 313. Figure 73. Edward Okuń. Title page for the Upanishads (Kena, Isha and Great Aranya), translated by Wacław Berent. Chimera 10, no. 28/30 (1907): 263. Figure 74. Aubrey Beardsley. The Return of Tannhäuser to Venusberg (illustration for The Return of Venus and Tannhäuser). Lithograph. Insert to Chimera 3, no. 9 (1901). Printed reversed. Figure 75. Józef Mehoffer. Advertisement for Kirsch et Fleckner. 1900. Figure 76. Józef Mehoffer. Cover vignette for Chimera 5, no. 13 (1902). Figure 77. Józef Mehoffer. Drawing from polychrome designs for Wawel treasury. Reproduced in Chimera 4, no. 10/12 (1901): 428. Figure 78. Józef Mehoffer. Cover for Chimera 5, no.14 (1902). Figure 79. Franciszek Siedlecki. Ex-libris (Dr. Józef Drzewiecki). Etching. Reproduced in Chimera 9, no. 25 (1905): 140. 6 Acknowledgements First and foremost, I am immensely grateful to my advisor, Anne Helmreich. Her unwavering support and enthusiasm for my project sustained me even during the most difficult periods of the writing process. Her close reading and detailed feedback during every revision were testaments to her genuine investment in me as a scholar. I feel truly blessed to have had her as my advisor and mentor.
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