In May 1910 S.I. Witkiewicz visited his father in Lovran in the company of the actress Irena Solska, his lover at the time. Witkiewicz Senior didn't approve of their attachment. Later on, Solska was satirically depicted by Witkacy in his novel 622 Downfalls of Bungo, or Demonic Woman, not only as unfaithful lover, but also as actress defying true nature of art. Furthermore, it is rarely questioned why the father's comments on the reviews Solska sent him after her performances in Zagreb (which took place right after her visit to him) are very reserved, if not dismissive. Additionally, Croatian-language reviews of Solska's performances are overlooked also in theatre studies, in spite of their considerable value in regard to such roles as Solska's leading parts in Lilla Weneda by Slowacki and Nora by Ibsen. The article uses these reviews as an important indication that in the character of Mrs. Acne Witkacy rather constructs "actress-as-enemy-of-true-art" than portrays Solska's actual stage creations. Another context of Witkacy and Solska's trip is provided by so-called "book of memoirs" of Helena Czerwijowska, a young woman who was in love with Witkacy and had happened to be in Lovran during his previous visit to his father. In her text, she constructs herself as an ideal "woman as a partner to an artist". Her closeness to nature (represented first of all by the Adriatic Sea) plays an important role in her self-construction equating her with the fairy-tale maimaid who silently sacrifices her life for the beloved and silently observes how the "woman he loves" (as Solska is named through the whole text) is about to destroy his life. The examination of all these contexts helps to escape the stereotypic views on the role "demonic" and "angelic" women played in Witkacy's life, and vice versa
