Face Substances. The rhetoric of Kapists’ self-portraits: between self-reflection and confession

Self-portraits are specific kinds of pictures where the subject’s experience is closely combined with the act of painting. Such works constitute a mixture of internal iconic power with external reality, e.g. the artist’s body, his thought, and theory, etc. This applies in particular to self-portraits painted by the members of the Paris Committee since the idiomatic nature of painting was the primary quality on which they based the language and poetics of their art. This paper analyses selected self-portraits by Józef Czapski (1896–1993), Zygmunt Waliszewski (1897–1936), Piotr Potworowski (1898–1964), Artur Nacht-Samborski (1898– 1974), and Jan Cybis (1897–1972). The focus on the strategy of incorporating physiognomy into the matter of painting stems from the fact that on this particular level the intensification of the relationship between the author’s image and his painterly gesture gains the strongest self-reflective potential. This allows for a reading of self-portraits as developing the artist’s reflections about art and himself, included in theoretical writings and intimate journals. Analyses presented in this paper can, therefore, be defined as an attempt to recreate rhetoric of the painterly trace on the basis of choices particular for given work. In this optic, crucial are these aspects of painting that manifest a form of the author’s subjective investment in artistic activity: from emphasising the distance through which the painting presents itself as a code offered to the viewer to decipher (as in Nacht-Samborski’s work) through to declarations to blur the boundary between the artist and the work, which results in an almost organic communion of the body and the matter of painting (Cybis).