The collection of Polish art at the Józef Piłsudski Institute of America includes many works that, beyond their artistic value, testify to a unique Polish-American dialogue. One such piece is a graphic work portraying the first American president, George Washington. The context of this work is particularly rich and multifaceted.
Art and war seem to be mutually exclusive. This notion is reinforced by a paraphrase of Cicero’s proverb, often invoked to highlight the contrast between the ruthlessness and totality of war and the peace of mind required for artistic creation: Inter arma silent Musae—in times of war, the muses are silent. In essence, war is the antithesis of creativity; it is a destructive, total, devastating, and often senseless act. Certain types of artistic creation are incompatible with war. On the other hand, art draws from all areas of life, and even the most difficult experiences find their sublimation in artistic expression. Warfare has been a subject of art since antiquity—from the reliefs of Ancient Greece to the bas-reliefs on columns and triumphal arches of Ancient Rome, which celebrated military conquests.
The painting collection of the Józef Piłsudski Institute of America serves a unique role. The Institute’s rooms, filled with Polish artworks, transport visitors from Brooklyn’s Greenpoint to the landscapes of the Central European lowlands and the Carpathian Mountains. It is worth following the landscape trail of this collection, viewing the paintings as elements of an emotional vehicle through time and space.
