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Ten „zły” Berman? Słowo o książce Piotra Rypsona

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Więcek-Gigla A.

Śląskie Studia Polonistyczne

2019

tom 13

nr 1

179-188

The text discusses a monograph by Piotr Rypson about Mieczysław Berman. When we consider Czerwony monter [The Red Assembler], however, we need to refer to a concept that is closely akin, namely, Andrzej Leder’s take on revolution. What is underscored here is Berman’s composite photographs since, as the author of this discussion believes and expands upon in her text – they depict most accurately the times of the photo designer’s life. He is considered the creator of the communist propaganda’s graphical language. And that is probably why a considerable period has had to elapse before he became again considered “worthy” of the scholarly interest. It seems, in this day and age, important to reconsider the works of this world-renown “assembler” of red propaganda, merely in order to trace the remnants of his style in the graphic-design culture of today.

Rewolucje Mieczysława Szczuki

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Więcek-Gigla A.

Śląskie Studia Polonistyczne

2010

The article presents Mieczysław Szczuka, a visual artist, graphic designer and architect from Warsaw. His activities at the turn of the 20th century greatly contributed to the emergence of New Arts: he was a pioneer of constructivism in Poland, he created the first Polish photomontages, he argued in favour of giving the arts back to the proletariat. His radical, extremely leftist views made him a loner in his hard struggle for a revolution in the arts (and, in the long run, also in the society).

Ten „zły” Berman? Słowo o książce Piotra Rypsona

100%

Więcek-Gigla A.

Śląskie Studia Polonistyczne

2019

tom 13

nr 1

179-188

he text discusses a monograph by Piotr Rypson about Mieczysław Berman. When we consider Czerwony monter [The Red Assembler], however, we need to refer to a concept that is closely akin, namely, Andrzej Leder’s take on revolution. What is underscored here is Berman’s composite photographs since, as the author of this discussion believes and expands upon in her text – they depict most accurately the times of the photo designer’s life. He is considered the creator of the communist propaganda’s graphical language. And that is probably why a considerable period has had to elapse before he became again considered “worthy” of the scholarly interest. It seems, in this day and age, important to reconsider the works of this world-renown “assembler” of red propaganda, merely in order to trace the remnants of his style in the graphic-design culture of today.

„To był mastodont” – Mieczysław Szczuka w poszukiwaniu piękna utylitarnego

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Więcek-Gigla A.

nr 1

The article is an attempt at outlining the biography of Mieczysław Szczuka, a Polish graphic artist of the interwar period. His short-lived artistic activity is important because of his fascination with Soviet constructivism, pioneering Polish photomanipulation, theoretical work and combining artistic ideas with the communist pursuit of social and political revolution. Szczuka co-created the art and literary magazines (Blok [The Bloc], Dźwignia [The Lever]) and was involved in avant-garde publishing. The programme statements brought up in this paper were part of the artistic and literary discussions of the interwar period.

Artykuł jest próbą biografii Mieczysława Szczuki – polskiego artysty-grafika międzywojnia. Jego krótka działalność jest istotna z uwagi na fascynację radzieckim konstruktywizmem, pionierstwo w zakresie polskiego fotomontażu, działalność teoretyczną oraz zespolenie idei artystycznychz komunistycznym dążeniem do przeprowadzenia rewolucji społeczno-politycznej. Szczuka współtworzył czasopisma artystyczno-literackie (Blok, Dźwignia) oraz angażował się w wydawniczą działalność awangardową. Przywoływane wypowiedzi programowe wpisywały się w artystycznei literackie dyskusje międzywojenne.