Yes, I know that this topic is extremely trite, but not all read the great books of art historians that appear on the Polish market. So from the outset I would recommend one of the best publications in recent years (I am very amused), which created Eve in 2009 Toniak Fri "Giant. Women and Social Realism "(lazy can look at the article in Circulation Izabela Kowalczyk of the beauty of the female body in the days of communism in Central Europe - link ). It is impossible to omit the classic work of Maria Janion of 1996, when the "Goddess of Liberty. Why the revolution is a woman? "Asked the first on such a large-scale attention to the fact that social realism, after a woman robbed of everything feminine, throw them together with men, asking them to perform similar roles in society and" ride "tractors like the jockeys and the Knights their steeds. This, unfortunately, this idea appears already in the art of the socialist end of the nineteenth and twentieth centuries, and even more so publicized painting of the Soviet Union meant that the art of the early People's Republic can not in fact look different than the art of intentionally devoid of expression, individuality and character even to some extent the individuality of the artist. A pity, because it is an art in all pretty easy to pick, not to say that in his twisted way of "academic."
"Ceglarki" Alexander Kobzdej of 1950 (National Museum in Warsaw) is a picture so unusual that it became the basis for me to devote today's actually just him entry. Responding to the classic question about the visual layer ("what we see in this picture?" Until today evokes a more or less positive associations in older than me by art historians), it is easy to see that we are dealing with three passive, even obijającymi to women. In total, it appears the seemingly odd, especially since the painting is deliberately created as a pendant to a much more active image "Enter a brick" by the same author ( link ). There he saw three guys who have to work together to develop a standard over and so exacting standards. One stretched out his hand after a brick (because it will tie!), The second purify it, and the third slaughtered mortar trowel. In other words, full fledged teamwork to build in "communist concrete," the whole field of imaging. In turn, they were not the only shows looming in the background of the mast (perhaps a lift) and a pair of scaffolds, indicating how to rebuild post-war reality.
"Ceglarki" are other and in this sense "non-masculine." Their faces are not painted with the joy of work, but the three of us sitting on a few bricks and enigmatic made a bucket (for E. Toniak was a reference to a still life of "Brutus" by David). As the author puts it, "The basket of knitting, with no sinister context, sojourned on the socialist construction and turned into a lack of charm, rough bucket" (E. Toniak, giant ..., Krakow 2009, p. 27). You can even joke: 'Oh, what a bad object which interferes with socialist overtones propaganda video! Instead of focusing the viewer's attention on the fact that everyone can participate in the construction of a new (not necessarily better) Homeland, do as the lyrics proclaimed the Anglo-Saxon war posters ("Do your bit!"), In return, the artist gives us to understand that women do not can serve the great cause as the men. Quite a misogynistic, and certainly untrue.
But let us - to the emptiness and the Absolute, in other words: the way towards the medium and its use. The thing that strikes primarily in the "Ceglarkach" (deliberately slightly highlighted with an image that could be seen more clearly weary faces of women), is that somehow useful for you to take the center of the image instead of putting form sides. A. Kobzdej makes quite an impression as if he did not know the rules of academic composition, so well that he was able to use the "Enter a brick." Simple, joyful even picture in which the work goes on and the audience relates odstawkę overwhelming impression that men are almost totally not tired. Of course you can and look at the picture differently - sad weary face brick obrabiającego points if it did not depend on his pace of work, but the character that identifies the viewer, so dark-haired on the left (by the way I envy his hair color) is clearly geared to implementing the six-year plan is best done immediately work for several generations in the future ... Why, then, women sit on wooden pallets at the wall-like background fairy tale about Reksiu such pretty awkward and not very active?
Answers in my opinion should be sought in the iconographic tradition. We were in Polish painting of many similar performances, as applied by the A. Kobzdej, and recall the most famous of them simply means "peasant's coffin" A. Gierymski ( link), where as it seems reconciled to a tragic fate. So it would seem that the picture just right fit to the concept of Socialist Realist painting. Both because I went to the National Fine Arts Exhibition at the National Museum in Warsaw in 1950, created a painting of a brick building zgarnęło triumphantly up the third prize. But this image of "Ceglarki" is closer to (at least lyrically) to what is trying to achieve in the socialist realism. The nature of propaganda has been replaced by a realistic, even werystycznym presentation that adaptation women's new role in society is difficult, but important and valuable. So if he compared the image with the words Kobzdej A. W. Sokorski, which in the "Festival of the Arts" in 1950 created a de facto basis for the most complete and treściowego ideological nature of the work, it turns out that the observation will be prima facie invalid. We read for example, that "socialist art can not be created without assimilate the whole experience and achievements of all the achievements of past centuries realists" (and we have met, since there is A. Gierymski) and, moreover, "as opposed the art of imperialism, the socialist art is the art of a common theme in the conceptual content and national in the means of expression. " Only a few years later, W. Sokorski slightly changes his mind and different forms the basis of socialist realism. If we equated "Ceglarki" to the text of the article in the same letter, but it issued two years later, it turns out that tired workers already tastes correspond criticism. For it is (bearing in mind these bucket and a hole in the center) to assume that "socialist realism involves arranging the image of reality in art, presupposes the development of typical features and the elimination of incidental details. " By the way, "the painting art"? This is something else? Ah, the socialist newspeak comparable pustosłowiami a "medical doctor" or "day dziesiejszy" ...
Both images rather unusual approach to the problem of work in setting up and laying bricks. Let's look for a similar theme as the reconstruction of destroyed Allied bombing and robbery operations troops "liberation" took the Germans (especially those east) and the Austrians. Already in 1945 in Vienna, appeared in a poster of the communist party, in which the worker has only been reduced to a pair of hands aimed directly at the viewer and holding a brick. The whole was surrounded by large amounts of text, but the greatest attention is drawn to the words "Seize" (ie the same way as in A. Kobzdej imperative), and the building was placed at the bottom of a brick wall jaskrawoczerwonych with the signature "Communist Party". Other words disguised handwriting emphasize that the fate of the new Austrian is in our hands, so evidently refer to the same media propaganda which the Polish image.
Similar work without You can find more problems, like the built in Berlin in 1945, using identical solutions of hands holding a well-burnt brick. This time, however, graphics hiding under alias Kadezwi wrote that "each hand supports a new reconstruction." And what about women? To look at how bravely they work on construction sites would have to see destroyed Dresden in 1946 either (which is easier and more recommended) to visit the German Historical Museum in Berlin. German woman (yes, the figure corresponds to the stereotypes of great beauty and stature representatives of this nation) is based on one hand on the wall slowly lower porastającym party poster, and on the right holds the duped party trowel mortar. The signature is the same as in Polish images of traktorzystkami: "I am a bricklayer helper. And you can [get] a future profession. " As you can see the propaganda in full, and our current perspective it might even give rise to ridicule.
But to readers did not feel offended that the work of ceglarkami appear only stout women who are completely at the ideals of beauty (both of those years, and present), another poster at the end. Jupp Alt in 1949, created a poster, on which a much more slender woman (in my opinion more a type of sculpture of the Third Reich than the models promoted in the USSR) has been depicted as the spectator of the profile gives a person some brick. He holds it firmly, but do not know what is the role in the production process and building, because no one else outside the artist has decided not to submit. Brick only half is in the imaging field, and the rest disappears behind a wall, which located in the lower part of the poster. Completes the whole was already signed for a fifth of social action: "We are of rubble and scrap metal."
This shows that in the turbulent period 1945-1950, a number of visual solutions, which the Polish artist could use to create his paintings. Therefore deliberately used the idea, which gives a much more difficult to transform the crisp Socialist Realist propaganda Polish People's Republic. Is this the way he wanted to appreciate the work of women and show that they too can help, but they are not physically capable of such great sacrifices, and sacrifices as men? Or rather, has created the antithesis - when working in the sweat of his brow, and here the moment of rest after the creation of yet unused by men of bricks. Whatever the intentions were, however, the image strikes its emptiness, the monolith wall and form the soul nieoddającymi facial features women like to "Rozstrzelań" Wroblewski. Here state the youngest woman at the wall also gives the impression of some form of reconciliation with fate, not a commitment to the noble objective of rebuilding their homeland.
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