Krakow: The captors in the Czapski pavilion

In 1924, a crowd moved art students from Krakow to Paris for a few months to form, celebrate lavish balls – and stay for seven years. What sounds like a variation of Thomas Mann’s “Magic Mountain” (which appears in the same year) actually points to the “Paris Committee”, one of the most effective movements within Polish art history.

On the hundredth anniversary, the old circle of friends, represented by his works, comes together again in the pavilion of his most famous colleague: the painter, writer, writer and versatile publicist Józef Czapski. Capist (derived from “Komitet Paryski”), the dozen parisonia at the Kraków artista, which is referred to in the club with her teacher Józef Pankiewicz, a friend Pierre Bonnards, left to explore French painting. Including three women: Hanna Rudzka, who was the first woman to be appointed to the Krakauer Art Academy after the war; Dorota Berlinerblau, who died in prison around 1943; And Janina Przecławska, from which, as far as known, no works are preserved. “There is nothing except Paris” What the united boheme was missing from means, she took in with self -established balls – first in Krakow to handle the travel expenses, later also at the place of the dreams, where in 1925, in addition to the aristocracy, even Picasso mingled with the festival. The enthusiasm for the city, which was brought with him, does not refrain from contact with reality: “There is nothing except Paris”, was a bonus of the professor who traveled with the co-traveled professor, which until his death in 1940 led the Paris branch of the Krakauer art academy. Study bronze plastic. There is once the preference for Pleinairs, still lifes and small formats, the departure of plot and subdillance and the turn to the empty landscape and pure color. Finally, Bonnard’s outstanding influence, elegantly illustrated by the “Return of Baden” (1911), which is watching from the side edge, a landscape from Pankiewicz from a holiday in Saint-Tropez. What is more important than beautiful cabbage heads? most clearly scores from the master count. In addition to a self -portrait in a suit and scarf (1922), he is represented with a phantasmagorical feast and a winter view of Warsaw (both after 1930). But also Czapski itself and the hardly known Berlin blue fit into this frame only with drawbacks. What started as a pragmatic travel business (with treasurer and statutes) grew into an artistic current over the years, which also operates as “Polish colorism”. The style remained influential across the Second World War, which almost devoured all the work from Czapski’s first half of life. “After 1945”, he was amazed, “it turned out that there were a few hundred captors”. Freelige this can not only be read as a success story (and was not so interpreted by Czapski). The Warsaw painter Wojciech Jastrzębowski, who had studied in Paris before the First World War, blamed the Capists in 1934 that there were more important things as “beautiful cabbage heads and make the Kotau in front of the École de Paris”. In an entry from January 1983, on the occasion of a contemporary exhibition of Polish art in the Paris Grand Palais, the important director Hart goes to court with the captors: instead of scoring the tradition from Matejko to Malczewski thoroughly, in their youthful enthusiasm, they fall for the panciewicz nerd and a fixed idea of ​​Paris. The judgment about the epigones is devastating: “Crafts and execution miserable. The formats too small, the colors too weak, the drawing indistinct and, above all, the subject unclear. ” In any case, the ancestral gallery in the Czapski pavilion cannot be mentioned-so a postumer revealed that invites you to refute. There is still a lot to discover here. Kapiści. Sto lat! The Capists. 100th Anniversary! Czapski pavilion of the National Museum Krakau; until April 6th. The catalog costs 10 euros.

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