MALARZ W ARTYSTYCZNYCH ZMAGANIACH Z TRADYCJĄ. Harolda Blooma koncepcja lęku przed wpływem

  1. Manfred Bator


The Concept of Anxiety as Influenced by Harold Bloom

In a letter to another poet, Wallace Stevens, American poet and essayist, wrote: [...] I consciously resigned from reading mannered poets such as Eliot or Pound, in order to avoid taking anything from them, even unconsciously. In contrast to that attitude, young German expressionists with full consciousness seek inspiration at the beginning of their artistic career mainly in post-impressionist movement, discovering in direct or indirect contact (exhibitions) the power of color and their own creative power, due to what did their precursors. In his publication entitled ‘The anxiety of influence’, Bloom wrote that ‘poetic influence is not required to make poets become less original; equally often it makes them more original, though not necessarily better’. The main animators of expressionism in German painting and graphics (Emil Nolde, Max Beckmann, Oskar Kokoschka, George Grosz, Max Bechstein, Ernest Ludwig Kirchner, Vasily Kandinsky, Alexei Jawlenski, Franz Marc, August Macke, Egon Schiele) turned out to be maybe not better than Precursors, but undeniably original. Undoubtedly artistic path of each of these artists can be decomposed according to Bloom’s scheme, based on six revisions for allowing to understand ... how one poet walks away from another, which would confirm the legitimacy of using Bloom’s philosophical-literary theory in relation to visual arts. Such awareness validates the idea of interpreting artistic career of Polish renown artist Zdzislaw Nitka, who gave his habilitation dissertation the following title: Painter on the shoulders of the artist – that is a tribute to the masters.

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Dyskurs. Pismo Naukowo-Artystyczne ASP we Wrocławiu

20, 2015

Pages from 158 to 193

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