Abstract:
The article provides a glance perspective on Miłosz’s poetry and essay writing through an issue of a relation with fine arts. The Author takes up a problem of both the method (realism; thesis of world’s reality—against nothingness) and the subject (generic scenes); she turns towards Miłosz’s interest in Chardin, Dutch still lives, Cézanne and passion for haiku, introducing a meditative motif. First of all, what is worthy of emphasizing here is the hypotyposis consideration (e.g. type of painting imagining) remaining in conflict with ecphrasis (work description itself).
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