This article examines the artistic contributions of two members of the ‘artes’ group, active in Lviv (Lwów during the interwar period) from 1929 to 1935: Aleksander Krzywobłocki (1901–1979) and Margit Reich-Sielska (1900–1980). Situated within the ‘artes’ milieu, which emerged as the most cohesive community among phenomena with a surrealist profile in the history of Polish art, their creative endeavors have faded from the collective memory of subsequent generations of art historians and critics, both within and beyond Poland. With the aim of elucidating the distinctive characteristics of Krzywobłocki and Sielska’s artistic attitudes, deeply rooted in the cultural landscape of interwar Galicia, this study explores their work as both manifestations of the avant-garde milieu in Lviv and contributions to the transnational surrealist movement. This examination takes a relational approach, considering their artistic output within a framework of trans-local and trans-regional connections. Drawing upon the works of various surrealists active in different European centers, I juxtapose the artistic approaches of Krzywobłocki and Sielska with other practitioners of the movement to highlight both convergences and differences in their expressions. By situating their artistic profiles within the broader modalities of surrealism as a polycentric movement and within the unique cultural context of Lviv—a city marked by its multiethnic, multicultural, and multiconfessional character—I argue that their imaginings should be classified as idiosyncratic idioms of surrealism. This hybrid expression, which developed on the peripheries of European artistic hubs, is primarily distinguished by an ‘archetypal load of tension’—a continual quest for archetypal content that has been lost in the modern world.

中文翻译：

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“紧张的原型负荷”：Aleksander Krzywobłocki 和 Margit Reich-Sielska 在 20 世纪 30 年代在利沃夫创造的超现实主义的特殊习语


本文探讨了 1929 年至 1935 年间活跃在利沃夫（两次世界大战期间的利沃夫）的“artes”团体的两名成员的艺术贡献：亚历山大·克日沃布沃茨基 (Aleksander Krzywobłocki，1901-1979) 和玛吉特·赖希-西尔斯卡 (Margit Reich-Sielska，1900-1980)。位于波兰艺术史上超现实主义现象中最具凝聚力的“艺术”环境中，他们的创作努力已经从国内外几代艺术史学家和批评家的集体记忆中消失了。波兰。本研究旨在阐明克日沃布洛茨基和西尔斯卡深深扎根于两次世界大战期间加利西亚文化景观的艺术态度的独特特征，探讨他们的作品既是利沃夫前卫环境的表现，也是对跨国超现实主义运动的贡献。本次审查采用关联方法，在跨地方和跨区域联系的框架内考虑他们的艺术作品。我借鉴了活跃在欧洲不同中心的各种超现实主义者的作品，将克日沃布洛茨基和西尔斯卡的艺术方法与该运动的其他实践者并列，以突出他们表达上的趋同和差异。通过将他们的艺术形象置于作为多中心运动的超现实主义更广泛的模式中，以及利沃夫独特的文化背景中——一个以多民族、多文化和多信仰为特征的城市——我认为他们的想象应该被归类为超现实主义的特殊习语。 这种混合表达在欧洲艺术中心的外围发展起来，其主要特征是“原型的张力负载”——对现代世界中已经丢失的原型内容的不断追求。