Stefania Krzysztofowicz-Kozakowska

Ormiańska saga malarska

Introduction

Ormiańska saga malarska. Saga malarska Antoniego i Kajetana Stefanowiczów, polskich artystów ormiańskich. Analiza portretów, pejzaży, Art Nouveau i wkładu w niepodległość Polski.

Abstract

ARMENIAN PAINTING SAGA. ANTONI AND KAJETAN STEFANOWICZThe article presents historical and artistic analysis concerning the works of two Polish painters of the Armenian origin, from the Stefanowicz family: Antoni (1858-1929) and Kajetan (1886-1920), the father and the son. In the context of their biographies, the author discusses their works, covering various areas of painting: portraits, landscapes, monumental painting, graphics, drawings, book illustrations, posters. In reference to Kajetan Stefanowicz, she makes a successful attempt to place him in the stylistically and regionally variable European art of his time – Secession, Art Nouveau, Art Deco. She also extensively describes his politically engaged works, created in atmosphere of fight for Poland’s independence during and after World War I.

Review

The article, "Ormiańska saga malarska" (Armenian Painting Saga), presents a compelling examination of Antoni and Kajetan Stefanowicz, two Polish painters of Armenian origin. The abstract outlines a comprehensive historical and artistic analysis of this father-and-son duo, promising to illuminate their biographies and diverse artistic output. This focus on artists representing a specific cultural nexus—Polish and Armenian—suggests a valuable contribution to art historical scholarship, particularly in bridging Central European and diasporic cultural studies. A significant strength of the proposed work lies in its extensive coverage of the Stefanowicz family's artistic contributions. The author aims to discuss a wide array of artistic endeavors, including portraits, landscapes, monumental painting, graphics, drawings, book illustrations, and posters, demonstrating a thorough investigation into their creative versatility. Commendably, the abstract highlights a "successful attempt" to place Kajetan Stefanowicz within the stylistically rich and regionally diverse European art movements of his era, such as Secession, Art Nouveau, and Art Deco. Additionally, the planned extensive description of Kajetan’s politically engaged works, created amidst Poland's fight for independence during and after World War I, adds a crucial layer, underscoring the interplay between art, politics, and national identity. This article appears to be a highly relevant and insightful piece that will appeal to a broad readership, including art historians, scholars of Central European art, and those interested in the cultural impact of the Armenian diaspora in Poland. By meticulously detailing the careers of Antoni and Kajetan Stefanowicz, the author not only enriches our understanding of individual artistic trajectories but also contributes significantly to the broader narrative of Polish-Armenian cultural exchange and the profound influence of historical events on artistic expression. The detailed analysis and strong contextualization position this work as a valuable addition to existing scholarship, and it is highly recommended for publication.

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