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Andrzej Wajda: Works
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Far from being a national separatist, Wajda in Pan Tadeusz, and ... in his other work, continues his quest for finding or – at least – designing a space that he could call home. In the most recent stages of this quest, he has become more than ever a proponent of nurturing a particular layer of individual and group belonging that is commonly referred to as “national identity”. In so doing, he insists on a positive kind of “othering” of national cinemas, in which they should cultivate, rather than obliterate, the national difference, which is the source of a positive creative power.
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Wajda became interested in the visual arts when working as assistant to a restorer of old church paintings in Radom. He studied painting at the Academy of Fine Arts in Kraków, then film…
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These two paintings scrutinise two key elements of the national tradition that have been explored by Wajda, landscape and people in their relation to history. In this essay I would like to focus on the former, as it has not been given sufficient attention in analyses of his work, although it is one of the most important aspects of Polishness as constructed, revisioned and represented in his films.
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