The aim of this text is pointing to the great role of mutual flow of formally-compositional patterns to the development of artistic activity of a photographer, Jan Bulhak and a painter, Ferdynand Ruszczyc. Artists' friendship and collaboration began on 21 November 1910. Since it was the time when Bulhak's artistic personality was being molded, Ruszczyc's works were particularly inspiring for his early creative activity. While conducting research concerning 'inter-picture' relations one can come across a few dozen of very characteristic photographs which constitute an attempt to copy painting compositions onto focusing screen of a camera. These photographs are significant for identifying painting element in photographic work of art and for Bulhak, ennoblement of a photograph to the work of art was taking place, among other things, through the use of a traditional painting composition. Photographic studies on the basis of Ruszczyc's compositions, for Bulhak, were also a dialog with painting in general, thanks to which he could specify his theoretical ideas concerning differences between the two media. Bulhak believed that deriving compositional schemata from painting was also an ultimate test of legitimacy of the theory of pictorial photography he subscribed to. Similarly Ruszczyc - especially in the 1920s - sought for inspiration in pictures by Bulhak. Using photography was the effect of studies at the Petersburg Academy, where Ruszczyc attended courses in the studio of landscape led by Ivan Shishkin. The author examines the flow of 'image patterns' on the basis of three topics. The first one is constituted by Vilnius architecture, the second by landscape and the third by the house of Ruszczyc family in Bohdanów, where Bulhak conducted his study upon his friend's compositions in the places which were archetypes of paintings.
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