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2 Okolowicz S.

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STANISLAW IGNACY WITKIEWICZ - 'MULTIPLE PORTRAIT', 'MULTIPLE PHOTOGRAPH' OR 'QUINTUPLE PHOTOGRAPH' ?

100%

Okolowicz S.

Rocznik Historii Sztuki

2006

tom 31

173-186

Stanislaw Ignacy Witkiewicz (1885-1939) is one of the most interesting and intriguing Polish artists of the 20th century. For this reason his multiple photographic portrait found in the 1970s and taken ca. 1916 in St. Petersburg has quickly become famous, as it symbolised a versatile artist realising his work in various artistic domains. The photograph was taken with the use of a well-known trick to multiple the photographed person in mirrors. Thus the photograph presents an optical illusion - five of the artist own persons sitting around the table. When the Witkiewicz's multiple portrait was found, several other such portraits by other artists were already known: the portrait of Polish architect Waclaw Szpakowski from 1912 taken in Riga, of Italian futurist Umberto Boccioni, pictures of Marcel Duchamp and his friend Henri-Pierre Roché – both taken in 1917 in New York, and a photograph taken by Hanah Höch. For several years, till the discovery of a source of the photographic trick, the photos of Witkiewicz and Szpakowski passed as their self-portraits. The method of taking such multiple photographs was described by Albert Hopkins in his book 'Magic. Stage Illusions and Scientific Diversions, Including Trick Photography', published in New York in 1897. The photographic tricks depicted by Hopkins were fragmentary published in the book by Hermann Schnauss 'Photographischer Zeitvertrieb' issued in Leipzig in 1903. Possibly there are other publications describing various optical phenomena to be used in photography. At the turn of the 19th and 20th century there was a sort of fashion for funny photographs using the effect of multiple reflection in mirrors. Numerous photographic studios in the United States, but also in European countries including Russia and Poland, offered such pictures regarded as amusing curiosity. There are preserved many multiple photographs of anonymous persons. Therefore, there is nor reason to emphasise which of those artists: Szpakowski, Duchamp or Witkiewicz was first one to have his multiple photographic portrait taken, as many anonymous people had done it before them. We may only consider the significance that each of the artists lent to this photograph.

METAPHYSIC STRANGENESS OF EXISTENCE IN THE PHOTOGRAPHS BY STANISLAW IGNACY WITKIEWICZ

100%

Okolowicz S.

Rocznik Historii Sztuki

2006

tom 31

153-171

Stanislaw Ignacy Witkiewicz (1885-1939), a painter, art theoretician, playwright, writer, art critic and philosopher, one of the most outstanding artists of the Polish art of the 20th century, was also a photographer. From the present-day perspective, the creativity of Witkiewicz, like the works of many great artists, is seen as a comprehensive conception, containing both all the achievements, more or less important, of the artist and the personality of the artist as well. The photographs taken by Witkiewicz were discovered relatively late, and the first exhibitions presenting a major part of his photographic art were held in 1979 and 1980. The Witkiewicz's photographs have quickly gained recognition not only in Poland, but also in other parts of the globe. Their striking feature is a characteristic, recognizable style and innovation - for that time. We are willing to treat them as one more field of Witkiewicz's activity, because of both their importance for the history of Polish photography and their popularity. The main purpose of the present article is to explain the significance for Witkiewicz of photography as document of the reality. And also, what was its relationship with both his major creativity and the specific theory of art which he called the Theory of Pure Form. According to this theory photography did not meet the criteria of a work of art; it was a synonym of realism which made it impossible to create a work of art in its Pure Form. For this reason the beginning of the article presents the vital characteristic of Witkiewicz himself as photographer and of the photographs taken by him. Their acceptance aids the reader to understand what photography meant for Witkiewicz.