First line from left Xawery Dunikowski, Pregnant Women (I, II, III), 1906, patinated bronze, National Museum in Warsaw. Photo by Teresa Żółtowska-Huszcza Edward Trojanowski, American Roller Skating Rink. Luxenburg Gallery, 1910, poster, Museum of the Academy of Fine Arts in Warsaw. Photo by Wojciech Holnicki-Szulc Mieczysław Szczuka, Portrait of a Revolutionary, 1922 (reconstruction, 1975), wood, metal, Muzeum Sztuki Łódź Antoni Wajwód, Academy of Fine Arts Ball. We Paint Everyone, 1933, poster, National Museum in Warsaw Wiktoria Goryńska, Self-portrait with Telephone, 1930, woodcut on tissue paper, National Museum in Warsaw o Antoni Wajwód, OZN (Camp of National Unity) “… Pull, and Pull, to Pull Poland Higher Up!”, poster, 1938, National Museum in Warsaw A FA Józef Czajkowski, Polish Pavilion at the International Exposition of Modern Industrial and Decorative Arts in Paris 1925, back elevation 1:50, 1924, crayons, pen and ink, ozalid, paper, Museum of the Academy of Fine Arts in Warsaw. Fot. Wojciech Holnicki-Szulc Jan Szczepkowski, Nativity Shrine: Angel with a Violin, 1925, wood, National Museum in Warsaw Czesław Knothe, armchair for a Bachelor Pad, 1930, pine, Museum of the Academy of Fine Arts in Warsaw. Photo by Radosław Parol Second line from left Rudolf Krzywiec, Rooster, c. 1931, stoneware, Museum of the Academy of Fine Arts in Warsaw. Photo by Wojciech Holnicki-Szulc Olgierd Szlekys, Władysław Wincze, table from the patio furniture set, c. 1938–1940, larch, National Museum in Warsaw. Photo by Michał Korta Olgierd Szlekys, Władysław Wincze, armchair from the patio furniture set, c. 1938–1940, larch, National Museum in Warsaw. Photo by Michał Korta Tadeusz Piotrowski, graphic design: Ewa Szelburg-Zarembina, A a a . . . kotki dwa [lullaby verse], published by Gebethner & Wolff, Warsaw, 1938, Jan Straus collection. Photo by Wojciech Holnicki-Szulc Leon Chejfec, cover of Panorama 7 dni weekly, no. 6, 1932, private collection. Photo: Piotr Rypson archive Third line from left Bolesław Surałło-Gajduczeni, The Maritime and Colonial League, poster, National Museum in Poznań M/S Batory, Grand Salon. Photo: Museum of the City of Gdynia Mieczysław Kotarbiński, 1-złoty coin, 1929, nickel, National Museum in Warsaw Antoni Wajwód, Gordon Bennett, Warsaw 30 August 1936. Aero Club of the Republic of Poland, 1936, poster, National Museum in Warsaw Franciszek Masiak, Swimmer, 1935, patinated plaster, courtesy of the artist’s family. Photo by Wojciech Holnicki-Szulc Warsaw School of Fine Arts building, side view, 1914. Photo: archive of Academy of Fine Arts in Warsaw Julia Kotarbińska, vase, 1930s, light stoneware, copper glaze, Museum of the Academy of Fine Arts in Warsaw. Photo by Wojciech Holnicki-Szulc MEWA, cover: Charles Kingsley, Na podbój świata [Westward Ho!], published by Wydawnictwo J. Przeworskiego, Warsaw, 1937, Jan Straus collection. Photo by Wojciech Holnicki-Szulc just as decades ago, it is in fact a cry for the culture of everyday life life everyday of culture the for cry a fact in is it ago, decades as just of graphic art, illustration and poster art. poster and art, illustration graphic of from 1923, administered by the reborn state — the direct predecessor predecessor direct the state — reborn the by 1923,administered from A production. production. of interpenetration of art and life during the the first of which is raising the level of consumer demands towards school is often quite rightly compared. compared. rightly quite often is school of Art assignments and specific orders, whether from the state or private private or state the from whether orders, specific and assignments was ula laid considerable emphasis on the so-called applied arts, whose whose arts, applied so-called the on emphasis considerable laid ula place where art, as a rule, was not divided into “pure” and “applied” “applied” and “pure” into divided not was rule, a art, as where place Art Everywher advertising (posters, leaflets, shop signs and shop windows’ dress windows’ shop and signs shop leaflets, (posters, advertising ing) and book graphics, reaching the consumers from their earliest earliest their from consumers the reaching graphics, book and ing) T stitute or “showroom” — something unique in arts higher education education higher arts in unique something — “showroom” or stitute based on good, original, native projects (in place of imported trash trash imported of place (in projects native original, good, on based E of present-day present-day of public and private spaces. spaces. private and public exist, but also testify to some tangible effects of such integration, integration, such of effects tangible some to testify also but exist, with good taste and quality of of quality and taste good with and sculpture, purely theoretical issues mingled with competition competition with mingled issues theoretical purely sculpture, and e — in the immediate surroundings, the objects of common use, in use, common of objects the surroundings, immediate the in — natural inclination of each of us to arranging and decorating our demic studios of graphic art, the predecessors of “ of predecessors art,the graphic of studios demic o p x of of teaching was to be accompanied by implementation of designs into in which we grow up. grow we which in

tion of everyday objects is often still based — in this day and age!). age!). day and this in — based still often is objects everyday of tion m the city feature prominently among the exhibits, such as the A the as such exhibits, the among prominently feature city the f o rojects Projects and works that have always been present in the space of there was widespread criticism of ofthe thequality environment the S produc which on designs, nineteenth-century even entrenched, or in this broad sense. sense. broad this in of the the of at the time, with the exception of the the of exception the with time, atthe e l p S evrywher candinavian countries, not only prove that “art and life” mayco- life” and “art that prove only not countries, candinavian er and how to arestore healthy relationship the worldbetween G people, viewers and consumers of their art — as evidenced by the the by evidenced as — art their of consumers and viewers people, s Ł M of art and industrial production. production. industrial and art of ome examples of high material culture, such as the the as such culture, material high of examples ome W n o i t i a r

f o u n o d School’s success there and the prizes it won was the founding a arsaw A c i h p D

f o i t r m ivine S A t n e M s chool, immediately on the global scene, was the I the was scene, global the on immediately chool, t i t r T P s n r e d o ; or those that are as topical as the construction of the the of construction the as topical as are that those or ; hat made the academic school a kind of experimental in experimental of kind a school academic the made hat C s S e c n e d i v o r t o l o o h c s has been a phrase that is still full of content. content. of full still is that phrase a been has - r e p o and and A is the first exhibition that displays the phenomenon I cademy. cademy. u d n

a f o e v i t s A . F i r t T S S e n i , which for many decades became synonymous synonymous became decades many for which , T he picture is complete with broadly conceived conceived broadly with complete is picture he a T i c o he aim of this exhibition is also to ask wheth ask to also is exhibition this of aim he l A hat would have been remedied by production production by remedied been have would hat

a a T d n t r n o i t he founding statutes and the first curric first the and statutes founding he D s A , founded in 1904 as a private school, and and school, private a 1904 in as founded , rtists care for that, but so do ordinary ordinary do so that, but for care rtists r o c e

f o G a P r e v i t a olish design. design. olish c i h p A D t r e s T T s in in hen, as in more recent times, times, recent more in as hen, i G he first public presentation presentation public first he g r e n erman B erman P I aris, 1925. aris, n the studios of painting painting of studios the n s were set up at two aca at up set two were Second S imilarly, R a h u the a P u Polish A surroundings. s olish schools” schools” olish

market offer. , to which our our which to , M direct result result direct B a l y r enelux and and enelux childhood. childhood. investors. t y n r e t n A a Republic S S S w o k t i T i c o a oday, n o i t r i

a the the n o i t m s k n e a a l ------

5th June – 26th August 2012 Academy of Fine Arts in Warsaw 1904-1944

1 art everywheree 2 academy od Fine Arts 1904– 1944 found inliterature andpaintingoftheperiod, includingmany works by Stabrowski. InPortrait ofMrB. inaFantastical T best best in the art of group were merely around one hundred students, who could choose from three painting studios run by by run studios painting three from choose could who students, hundred one around merely were S ganda islocated inthe ganda building ofthe Warsaw Conservatory. Here, the work swing, isinfull day andnight.… This is Dunin, pressionism, moving in her explorations closer to the the to closer explorations her in moving pressionism, P nation on 11 where announcementsforarmy theatres are developed andsentto thefront. This isthesource ofartistic banners, The School was closedin1920andstudentsthestafftookpartdefenseof the capital— both assoldiers Poland), andalatercubist Self-portrait, offersafascinating glimpse ofonethestagesartist’s development. Found among themostenigmaticcharacters ofPolish 20thcentury art. Working with painting, sculpture, urbanplanning, to specialist studios. studios. specialist to adeusz Mieczysław Szczuka, whose untimely andtragic deathattheageof29putanearly endtohisdiverse practice, was otarbiński, Kotarbiński, their obligations and the membership fees declared in accordance with the statute were paid irregular students ofthe WSFA, as well costumesoftheparticipants. asthefancifulandoriginal Echoes ofthisevent can be Eugenia As oneofthefoundersandfirstdirectors ofthe Warsaw School of Fine Arts(WSFA), Stabrowski struggledtoimprove trzemiński), young underwent artists a total transformation.artistic Formist Landscapeof1918, presented here alongsideanearlierTriptych whose styleisreminiscent ofMłodaPolska (Young The founders of the academic art school in S to abstract compositions. compositions. abstract to W Aleksander by by during plein-air painting trips for students to to students for trips painting plein-air during other places, inNieborów’s Arkadia, Rybniszki, and Verkiai near Vilnius. Wojciech Jastrzębowski wrote about them oland regained independence, and then joined the L the joined then and independence, regained oland in 1902. ly. Krzyżanowski] suddenly outasketch pulled book from hispocket andpresented hisstudies, madeinpencil, fine, yet asif bashful. We leanedacross thetable around hissketchbook. I was amazedthatthismasterof wide brush- School. The Grand of Ball Young Art heldin1908 went down inhistory asanexceptional event for Warsaw artcircles and in a new building — despite it being covered with bullet holes — founded by by founded — holes bullet with covered being it despite — building new a in O dent, the to over building the handed D tudents were admitted to a general programme of study. study. of programme general a to admitted were tudents ist ist I tal. as well aspropaganda artists. Świat weekly published thefollowing comment: “The Central CommitteeofPropa- garde garde group of that time, the ized open-airpaintingcoursesthatsoon became legendary. These several monthlongstays tookplace, amongst to lease a plot in a plot lease to a W the school’s financialsituation. Money was raised by, amongotherthings, fancy dress organized balls by theartist. of a of n 1920, the majority of students joined the A the joined students of majority 1920, n the Little is known about lifeartistic in conceived tokeep up thespiritof peopleincitiesand towns …. Each day, the workshops here produce large independence. n 16thn committee to draw up the statute (“act” in uring his studies, studies, his uring r during theresearch inmuseum preceding collections theexhibition, Formist Landscapehasnot been exhibited before. W K tribution of thefrom artists outside the studio run by by run studio The dispute between Madonn A S a artists, e.g. e.g. artists, to to secure an appropriate building had been ongoing since 1905. Konrad Krzyżanowski was anavid enthusiastofoutdoorstudies. From the very beginnings of WSFA heorgan - was widely covered by thepress atthetime. The ball was remembered for both thesetdesignprepared by the shops held by by held shops azimierz azimierz r as follows: “I remember aday in Arkadia when, afterasupperfilled withsongsandhumour, Krzyżak[Konrad a S B w A S r When the C tanisław tanisław

k o l A S deep transformation is the art of of art the is transformation deep S ount w Breyer. Karol painted boards —fired, likeartillery shells, atthe Bolsheviks, profiteers, and civilians.” (Świat, no. 39, 1920) The as well asfilmandphotomontage, Szczukaearnedhisnameasco-founderofthe avant-garde group Blok. Kierbedź founded the new building designed by w l o o h c S in 1924: When the N S managed managed to receive permission to reopen the school. l o o h c ovember 1915,ovember W charcoal, pasteland watercolour on paper, NationalMuseumin Warsaw. Photo by Krzysztof Wilczyński l o o h c Costume reproduced here, theartistportrayed hisstudent, Bronisław Brykner, dressed asanEvilSpirit. strokes andfrenzied streaks ofcharcoal, was able and toproducewilling thesepainstakingdrawings.” a School opened at March 1909. Adam

Rafałowski, f o was reminiscent of folk glass paintings, and E S

dward dward F Tichy and f o tabrowski, consisted of the first first the of consisted tabrowski, From the academic year 1909/10 onwards the

R f o e n i F L Mieczysław K ussian troops withdrew in 1915, M A entz. entz. F e n i E A arol arol t that time, the Krasiński and aria aria irst First e n i dward dward onrad Konrad A t r N A adbrzeżna adbrzeżna t r s H T was plagued by a shortage of funds. E Medicine t r rojanowski and and rojanowski enryk enryk s W K N very month, each studio held workshops and exhibited works. works. exhibited and workshops held studio each month, very did not own a building and its studios were located in a number of places. s W ryński and and ryński the formist and cubist He was replaced by Xawery ith the use of synthetic forms, he gradually turned to cubism. cubism. to turned gradually he forms, synthetic of use the ith icz- Kazimierz was closed on 1st Karol Kazimierz Stabrowski, Portrait ofMrB. [Bronisław Brykner] inaFantastical Costume , 1908, orld W a K r B ittig. ittig. M rzyżanowski contributed considerably to the development of the students’ students’ the of development the to considerably contributed rzyżanowski A S (Wojciech Jastrzębowski 1884–1963, Wrocław–Warszawa–Kraków–Gdańsk, 1971, p. 128) Szczuka. orowiakowa, S Wierzbowa aria aria w tażewski painted under the influence of his master, a prominent portrait prominent a master, his of influence the under painted tażewski W S Kryński and F Edward a S Dunikowski, soon joined by ormists andormists especially one of its leaders, ar broke out, the C

l o o h c treet (soon renamed the the renamed (soon treet T short stay in short School educated somewho artists would go on to form the avant-garde ount he he S N J tabrowski, the principal, and the icz- an an

S f o His chool also organized anatomy lectures delivered by by delivered lectures anatomy organized also chool Edmund Bartłomiejczyk, Help! forAll theFrontline! totheFrontline!All , 1920, P F Poland during the war period and the initial years after regaining The Maurycy B S G Przewoski and lectures on art history by olish olish e n i orowiakowa started with primitivist-style landscapes, painted painted landscapes, primitivist-style with started orowiakowa tanisław tanisław olus, had already been in the P the in been already had olus, Triptych S A A treet no. 8 on 17th T School reopened as leksander leksander eresa eresa July 1920. J S t r W an W oil onplywood, NationalMuseumin Warsaw. Photo by PiotrLigier tanisław S s R arsaw included inaugurated a new academic year. year. academic new a inaugurated tate of consent the upon authorities arsaw milieu (most of all P ussian) of the school, approved by the authoritiestsarist Self-portrait Golus. c oil on wood, NationalMuseumin Warsaw. Photo by PiotrLigier aris, she took up a style close to the the to close style a up took she aris, Zamoyski, the entailer. a P S P R still displayed the e d Ż odhale and and odhale tanisław rofessors: rofessors: L arnowerówna, arnowerówna, ussian authorities earmarked the building for a m entz (the (the entz c i e Franciszek g L n o i R Yet before the group was established, with the con Lentz. e F Alfons afałowski — from post-impressionist landscapes landscapes post-impressionist from — afałowski g ormists and the the and ormists s n o i . K T and took part in the defence of of defence the in part took and Landscape revealed influences of ościuszko ościuszko he students also produced produced also students he The L T ubomirski, the . T S School was supported by a subsidy from the March 1904. omasz New teaching staff was employed, including K A S hen the the hen chool’s principal) as well as the sculpture sculpture the as well as principal) chool’s Gravier, and she donated it officially to the Kazimierz S onrad onrad fterwards only abstract works appeared. fterwards only appeared. works abstract The pisz, and then she became interested in ex in interested became she then and pisz, Tutelary l o o h c Mieczysław Szczuka, A Formist Landscape, 1918, Lilpop, the last

M classes started on 16th A

ieczysław P f o year later, the lets and various propaganda prints. prints. propaganda various and lets Y interest interest in creating nature studies. ajzderski andajzderski E K F Tutelary P oung mbankment). mbankment). rzyżanowski, rzyżanowski, e n i edagogical edagogical i l o They established an organization The metamorphosis could be seen C Katarzyna S poster, NationalMuseuminPoznań A P Konrad Krzyżanowski, Clouds, 1906, ts Its ommittee members did not meet s tabrowski, a painter, oznań group B group oznań Witkacy. t r h Tutelary oland modernist style, Polandwhile modernist style, M Municipal s Pedagogical towards the end of of 1922. end the towards ) (DK E ilit ugenia ugenia S C zczuka, zczuka, Tutelary a ommittee led to his resig y r T O C Eligiusz he ceremony was held held was ceremony he This period ended with K School was permitted B E Edward ouncil referred them them referred ouncil r C F ugenia ugenia obro and A G etween 1912etween and 1914, K ommittee erdynand erdynand F C ierbedziowa. ierbedziowa. z i n rench purists. ( purists. rench T WAR ouncil of H he open air work air open he A t n u enryk enryk a C C nother example example nother n o i t ommittee ouncil, chaired November 1915. W . Niewiadomski. posters, leaf posters, K Trojanowski. F P ( Polish avant- arsaw. arsaw. ierbedziowa. ierbedziowa. inally, after inally,after POW rofessor of of rofessor Władysław S President, Dr R tażewski, W uszczyc, uszczyc, ) before before ) fforts Efforts arsaw. Teodor M

hospi T Presi S iłosz iłosz here here ome ome JS ) ------

War and Warsaw School the Avant- of Fine Arts Garde 1904-1920 Room no.2 (Mały Salon) Room no.1 resisted the increasingly anti- increasingly the resisted saw G twins twins founded in 1930.in founded T tion of the students’ thatphotos were enclosed with their applications to the teacher. teacher. serve as an interesting counterpoint to the history of the S the of history the to counterpoint interesting an as serve organizing exhibitions of contemporary art. contemporary of exhibitions organizing T p u o r record some key events in political history and the art scene of the S the of scene art the and history political in events key some record he in 1936.in ists associatedists with the I al of he “political narrative” opens on 16th on opens narrative” “political he were significant social events besides their relevance as artist training. training. artist as relevance their besides events social significant were cerning the A the cerning Linking this impressive variety of material is, firstly, a “gallery” of ofportraits the art t was on the initiative of the the of initiative the on was t on a conflict with the law, represented by the group P group the by law, represented the with conflict a on N W balls at the at the balls This part of the exhibition is devoted to the relationships ofof thethe community

students: students: T of art. summer open-air art workshops of of workshops art open-air summer arutowicz, the first first the arutowicz, A , neglected by art historians. historians. art by neglected , e are keen to give an account of some forgotten people and events, such as the C the as such events, and people forgotten some of account an give to keen are e he exhibition depicts student life through specific annual rituals of school agenda. agenda. school of rituals annual specific through life student depicts exhibition he cademy, after its reopening in 1923, with the outside world of politics and the world E N fraim and and fraim atan W S ituated at the opposite pole is a leftist student faction, whose activity verged verged activity whose faction, student leftist a is pole opposite at the ituated It is also about the nature of academic life. hat connected all these artists were also their their also were artists these all connected hat Rapoport to participate in the exhibition accompanying the E lżbieta lżbieta cademy, but also highlight some seemingly marginal ones, which, however, however, which, ones, marginal seemingly some highlight cademy, also but A T cademy, organized by the the by organized cademy, he he M mous for their exciting creativity, attracting attracting creativity, exciting their for mous enasze enasze I nstitute was the first modern state institution dedicated chiefly to to chiefly dedicated institution state modern first the was nstitute Franciszek Masiak, Polonia Restituta , 1937, coppersheet, private collection. Photo courtesyRewars H irszberżanka, irszberżanka, P the the School, and, secondly, the presentation of an exceptional collec resident of the S the of resident S field of exhibition-making at the time. time. at the exhibition-making of field ever, many critics consider it one of the most accomplished accomplished most the of one it consider critics many ever, F the the crowned the the crowned Polonia eidenbeutels, who painted together. together. painted who eidenbeutels, eliks eliks in in T and placed on on placed and P ists fromists the circle of the he he olish exhibition in in exhibition olish S M A emitic tendencies of the 1930s in most most 1930s in the of tendencies emitic group of students of Jewish descent who frequented the Warsaw P their outfitstothegeneral themethat eachchanged year, such ued inthetradition ofhismentor, organizing openairexcursions tionally decorated therooms andcorridors as well asprepared Menasze Seidenbeuteldepicts a view from the window ofa dor balls organizedballs atthe Academy, as well asthefamedceremonies cademy’s community, that the I the that community, cademy’s A studentofKonrad Krzyżanowski, Tadeusz Pruszkowski contin- odern odern P to help artists in their contacts with state authorities. authorities. state with contacts their in artists help to avilion was dismantled at the turn of 1938 and 1939, was shipped to to 1938 1939,of shipped and was turn at the dismantled was avilion gave birth to works which were laterpresented inschool exhibi - in their practice). The celebrated twin brothers, studying under Arts. The famousfancy dress balls, organized annually inthe S olish olish Efraim andMenaszeSeidenbeutel, View from Window, c. 1930, himself inaclown outfit. The work isa reference tofancy dress casion of this exhibition, restored the sculpture to its original state. ( original its to sculpture the restored exhibition, this of casion as T popular amongtheresidents of Warsaw. The studentstradi- This posteradvertised thecarnival attheSchoolball ofFine mitory for Jewish students in Warsaw’s Praga district (a zczęsny zczęsny acquaintances. InSelf-portrait from 1926Pruszkowski depicted tions. The trips were animportantelementofthecurriculum, One ofthe best-known paintings by the brothers Efraim and he group was set up by by up set was group he Tadeusz Pruszkowski, toaconsiderablybelonged significant

with hisown pupils. These summerstays inKazimierzDolny Res building in Wybrzeże Kościuszkowskie Street, were widely of “liberation” which theprofessor —known forhissenseof The ofDeitiesandLegends Ball Efraim andMenaszeSeidenbeutel, c. 1930. Photo:Special and Artistic Crafts MuseuminLviv. Photo by PiotrJamski G Collections, Instituteof Art, Polish Academy ofSciences shaping theartist’s individual positionsandnewbringing L P titut izela izela We Are Painting Everybody T ife did not prove as much of a success as its predecessor in 1925.in predecessor its as success a of much as prove not did ife D avilion at the 1937at the I avilion adeusz adeusz H Wybrzeże Kościuszki No. 37, 1931, poster, Ethnography ecember 1922 with the assassination of of assassination the 1922with ecember F onorary onorary d n o c e owarski, Kowarski, raternal raternal M a H t. , a sculpture by by sculpture a , ufnagel and and ufnagel O R G ne of its other major functions was also also was functions major other its of ne ubałówka. ubałówka. P u p e P ruszkowski’s studio in in studio ruszkowski’s Felicja Lilpop, attheSchool ABall ofFine Arts, aris. aris. oiloncanvas, NationalMuseuminPoznań b c i l R humour —attendedinamusing costumes. with the otunda — the most impressive, monumental structure of of structure monumental impressive, most the — otunda H Tadeusz Pruszkowski, Self-portrait, 1926, , by by , B The narrative is not continuous; we elp students’ association, were fa were association, students’ elp M olesław olesław W asiak received received asiak y r h E oil oncanvas, MuzeumSztukiŁódź ligiusz ligiusz arsaw T M J g T n r e t n adeusz adeusz the so-called “bench ghetto”. “bench so-called the i chool and the art of the time. time. the of art the and chool ewish roots. roots. ewish he conservation of of conservation he ery ery a Szpilki n , , F C Some Story Polish Sea ranciszek ranciszek n a C a L s n o i t p W T ybis, ybis, itauer. itauer. e t u t i t A N , and artists connected connected artists and , he pavilion was developed by a group of art of group a by developed was pavilion he W c e also cover the refus the cover also e iewiadomski, a iewiadomski, P a [ a arsaw’s high society. high arsaw’s l e d ruszkowski’s female female ruszkowski’s PINPRICKS E

r o f P m econd R econd J o p x , olish universities, universities, olish y eremi eremi , The Seven LeanCows S

A f o The ofPalettes Ballet W s econd econd K M W n o i t i Berlin F t r azimierz azimierz e remind of the the of remind e asiak, a student of of student a asiak, e n i arsaw arsaw P T dedicated to p o r A K - con epublic he carnival carnival he School. ( ] magazine. magazine. ] ubicki, ubicki, t r P A G A Polonia Olympics rize for the work which, once once which, work the for rize s Academy. , including, including, ,

G former former d n S abriel abriel D chool chool

a motif olny, W was r u o l o E AS dmund dmund ar , carried out on the oc the on out carried , P The School - ) . , - - - - - olish projects in the the in projects olish

Art and in Powišle B B ohdan ohdan T artłomiejczyk. adeusz adeusz Technology Z P akopane akopane niewski, niewski, B reyer, reyer, H JK ow - P ) - - - Restituta Polonia Staircase Room no.3

3 art everywheree 4 academy od Fine Arts 1904– 1944 courtyard was a marble sculpture by by sculpture marble a was courtyard exhibition of the granted to to granted was complete with the J The the slightly exotic, unrestrained wildness of the works by by works the of wildness unrestrained exotic, slightly the above which were six decorative panneaux by by panneaux decorative six were which above School of the 1925InternationalExpositioninParis isconsidered his greatest achievement. The K author, author, of of topped with a crystal tower. tower. crystal a with topped Rhythm by Henryk Kuna —amarble femalenude — was thecentrepiece oftheinte - T astrzębowski, which decorated a square courtyard. courtyard. square a decorated which astrzębowski, housed complementary exhibits: a quasi-historical quasi-historical a exhibits: complementary housed tor of the the of tor rior oftheatriumleadinginsidePolish Pavilion. This classicizingsculpture that ensemble played during the exhibition), located at the and an exceptional supplementtothePolish presentation reigned by works inspired by rts traditionsArts fostered by some organizations promoting the renewal of the construction and furnishing of a national pavilion, located in the exhi the in located pavilion, national a of furnishing and construction the C Polish Pavilion attheInternationalExpositionofModernIndustrialandDecorative Tadeusz Czajkowski was adistinguishedpainter, architect, andlecturer atanumber combine the two traditions of of traditions two the combine and the other in a gallery at the at the gallery a in other the and a otarbiński. crafts, active in in active crafts, and students. school, benefitting from its workshops, as a co-operative of the professors e h The second section of the Arts inParis, back elevation, 1925. Photo:Library ofthe Academy ofFine Arts in Warsaw ticipation in the exhibition was conceived on a grand scale — in addition to to addition in — scale grand a on conceived was exhibition the in ticipation in The first international exhibition of classical styles. styles. classical ate their own, reliable workshops. such as the contrasting, white-black-green sgraffito murals by by murals sgraffito white-black-green contrasting, the as such of the the of sculpture iscurrently on view intheI. J. Paderewski Skaryszewski Park in Warsaw. School was appreciated and awarded the with d n arations for zajkowski, and a modern modern a and zajkowski, bition grounds, separate exhibitions were staged: one at the at the one staged: were exhibitions separate grounds, bition K S pendence proved to be a spectacular success.artistic lar annex. Compared toamountaincrystal, thetower crowning thePolish Pavilion copy oftheParis version ofthestatue(oftenconsidered themostaccomplished), local folklore. Rhythm earnedtheartistGrand Prixaward, thehighestdistinc- H in in extraordinary spire proved idealastheelementcapturingattentionof visitors. S The programmeartistic of the Polish exhibition at the structure consistedofasquare courtyard, a hexagonal grand hall, anda rectangu- orders, but also with other contractors, such as from from otarbiński and and Kotarbiński was reminiscent ofexpressionist designsforarchitecture madeof glass. The crys- of artschools in Vilnius, Warsaw, andKrakow. The designforthePolish Pavilion at tained close ideological and relationshipsartistic to the end of the inter Polish Pavilion, night view. Photo:Library ofthe Academy ofFine Arts in Warsaw r l o o h c K seemed perfectly inline with thekey currents ofEuropean artoftheperiod was hibition, the competition for an exhibition pavilion, pavilion, exhibition an for competition the shrine nade nade des D art and educational institutions. cussions on the shape of the the of shape the on cussions P tion oftheInternationalExposition. The sculpture presented isacontemporary onour housed a number of rustic benches designed by by designed benches rustic of number a housed onour H to to establish such workshops, and thus created, a year after the a l o o h c otarbiński, at the atthe ed decorative elements served as an overarching motif of the Polish exhibition. The (who were mostly also associated with the furniture factory in K rounded by by rounded aris was dominated by the works of a group of teachers from w o k talline forms found in the structure of the pavilion, its furniture as well as other W enryk enryk currently attheEmbassy oftheRepublic ofPoland inParis. One version ofthe r o c e This programme epochs generations connects andtwo two of artists F r his sculpture arsaw, which included a presentation of the curriculum at curriculum the of presentation a included which arsaw, eatures found throughout the the throughout found eatures a P Józef

f o W w o k i l o P W

a K f o stained glass, Polish StainedGlass MuseuminKrakow. Photo by T. Kalarus F olish olish e v i t Fine k r o rakow, who belonged to the community of the the of community the to belonged who rakow, s and interiors arranged by ojciech ojciech F K e n i W h S G arol arol A K e n i Ł A chool) and and chool) rand rand O s Invalides, where the exhibits included A a k r o una, employed at the at the employed una, C p o h d e i l p p ther parts of the show, including the d t r A rts wereArts among approximately 170 zajkowski, t r A S S J s Ł t r Polish participation in the s s l o o h c s i t r in in ection. ection. J a p o h astrzębowski’s , which often could not keep pace with the implementation of Polish Pavilion, atrium. Photo:Library ofthe Academy ofFine Arts S W . s d an A T P tryjeński, tryjeński, began to operate again in 1923, which coincided with prep with coincided 1923,in which again operate to began C J K s ojciech ojciech he he s alais housed, among others, a show of the S the of show a others, among housed, alais t P astrzębowski — like like — astrzębowski t r T rakow in early 20th century, such as P as such century, 20th early in rakow o

s . f o W aris in 1925.in aris Szczepkowski, and he subtle classicism of of classicism subtle he - C T r e p o S Rhythm F P Kiosk he he co-operation of creators of the ojciech ojciech o y t e i c o olish olish e n i - r e p o E T a dward dward he exhibition was preceded by competitions and dis and competitions by preceded was exhibition he A e v i t W Henryk Polish show was located in the gallery at the t r a I J and and and e v i t eventually moved from the arsaw, made them realize that they needed to cre n r e t n astrzębowski’s sgraffitos. sgraffitos. astrzębowski’s s S P W , were staged in the , which was placed in the pavilion’s atrium, sur atrium, pavilion’s the in placed was which , alon standing Edward avilion was designed by by designed was avilion . J T ojciech ojciech From the beginning, it was associated with the astrzębowski for interior design. design. interior for astrzębowski he last of the sequence of the the of sequence the of last he Miniature K T a P J n o i t rojanowski — brought to the the to brought — rojanowski r S P una, Kuna, erzy erzy olish art: folkloric and and folkloric art: olish a equipped with cubistic furniture designed and the austerity of of austerity the and tudio of olish presentation. presentation. olish E S Polish w o k splanade des des splanade a chool in the academic year 1923/24, made 1923/24,made year academic the in chool l After returning from W E W Trojanowski and H The J P W o p x Polish art after ojciech ojciech enryk enryk Kiosk astrzębowski, astrzębowski, Karol W avilion included geometric patterns, patterns, geometric included avilion k r o Wojciech Jastrzębowski, Tree ofLife, 1925, J archałowski, previously associated associated previously archałowski, ózef ózef s a St ojciech ojciech P n o i t i Professors awarded prizes includ s avilion in C I p o h n r e t n omposition of Grand a aSt and H g

K f o s Tichy. C enryk enryk e Z J , was appointed appointed was , una, entitled entitled una, K (where a highlanders’ musical zajkowski, zajkowski, ofia ofia M astrzębowski and a Grand arol arol n o i t by K J n r e d o I r J nvalides, as well as a free- a as well as nvalides, astrzębowski, Education section, with the Prix, the awardmajor for a Polish winners of awards an a W S w o k Honorary l K P E Study tryjeńska. tryjeńska. S ojciech ojciech Zdzisław splanade Esplanade des una’s una’s aris was an attempt to I Szczepkowski’s J g o p x T W tryjeński, tryjeński, J u d n P W ózef ózef S School, but they main e he centre piece of the the of piece centre he Poland regained inde J ózef ózef alais. T ładysław ładysław P tryjeński’s benches. benches. tryjeński’s in the garden there. an s k r o s he he W aris aris n o i t i The teachers of won a competition. competition. a won war period. ( i r t W i l o Planes and , designed by by designed , K P arsaw school. school. arsaw K s Rhythm Szczepkowski. ( Z arol arol C a P estern- p o h aris they decided Rhythm s C arol arol

l ofia ofia h zajkowski, who who zajkowski, olish exhibition exhibition olish f o J

zajkowski won won zajkowski The P a A E Mentions were astrzębowski. s C Szczerbiński’s M d n avilion rooms rooms avilion S xhibition with with xhibition ). l o o h c d e i l p p ommissioner ommissioner G chool of of chool T D The n r e d o T M rand rand Polish show Mieczysław he hall was was hall he S S Mieczysław ichy ( ichy P r o c e S tryjeńska tryjeńska tryjeński, tryjeński, ieczysław ieczysław balanced olish par olish koczylas, koczylas, E

W W Invalides. A . f o uropean uropean W W P T I Na a ojciech ojciech ojciech ojciech t r F aris ex he he u d n Solids. e v i t arsaw arsaw JG P e n i S Espla D J tivity alais alais irec H , y t e i c o ózef ózef s A A F

MS i r t the all all ine ine I t r t r ts ts IL a s s l ) ) ------

The Polish Pavilion in Paris From the Paris in 1925 Pavilion to o 5 k j . e o t Room) n a M m ( o o R LAD Artists Co-operative onwards, was created on the basis of his teaching experience in J it out over two years. years. two over out it T tasks, e.g. to design a specific interior. interior. specific a design to e.g. tasks, astrzębowski himself continued to teach at the at the teach to continued himself astrzębowski The he course was taught until 1939 at the until taught was course he C the understanding of the foundations of design gained by several generations of the kow, where he studied at the studio of and practical. practical. and T o bers of the of other other departments (for example, he programme’s objective was that every student should be able to solve general problems in visual culture — theoretical theoretical — culture visual in problems general solve to able be should student every that was objective programme’s he m o p C P 4 . o n m (Narutowicz Room) o o R 4 . o n m (Narutowicz Room) o o R o date from this period. period. this from date s have adapted elements of the programme for secondary art education. tion of ainting, now directed by m n o i t i o p K s J

n o i t i f o arol arol astrzębowski’s assignments to complete. P

l K f o Ł a Assignment 7. The CompositionoftheSolid, penandink, red crayon andpencilonpaper, Archives ofthe Academy ofFine Arts. r a just like little childrenjust likelittle —cuttingsomethingoutofthesepapers, gluing it, orshaping orcuboidsoutofclay.balls Jastrzębowski e n P d a S “Jastrzębowski’s studio was a bit like a kindergarten. Long tables crammed with colour papers, glue, scissors, and students — something, after which he’d finally say: ‘Well. There’s somethingtoit. Something’s beginning tohappenhere. But you should

w o k s A l tryjeński, tryjeński, I

a t emphasized hand-tasks in a variety of materials and techniques: wood, metal, plaster, while weaving and in in and weaving while plaster, metal, wood, techniques: and materials of variety a in hand-tasks emphasized t a i t r e n d n would examine theeffectsofthese artsandcrafts activities, sitatthetable, takeapaperobjectinhishand, cutandpaste W s s S

t a s k r o d n d i l o

C T S o he student was to pass gradually from designing flat, spatially simple forms to solving more complex complex more solving to forms flat, simple spatially designing from gradually pass to was student he s - s p o h r e p o d i l o , an original course programme by phere and colour of a Ład interior. These fabrics Fabrics — both hand-woven rugs and jacquards of Kurzątkowski’s practice —afactparticularly tuted thekey componentofthedistinctatmos- geometrical patternthat geometrical was alsoemployed by — were among the most sought-after products Saws, made in 1926, employs the characteristic private collection. Photo by Jerzy Gładykowski the artist in one of the fabrics presented at the visible inhiscelebrated chair Feathers, of1935. think itover. You needto work onitsomemore.’” (WłodzimierzBartoszewicz, BudanaPowiślu, Warsaw, 1983, p. 5) sidered oneofthehighlightsPolish design. In this novel design, the artist abandoned the s and construction was a characteristic feature of paper. A passionforexperiment with form B and toys, Jan Kurzątkowski, also made works s a piece offurniture thathascometo be con- a simplicity of the Ład Artists Co-operative for , which aimed to forge artist-designerslinks between and artisans. T course exemplifies the valuable teaching legacy left to us by designed c. 1919, madein1926, linen, wool, e v i t ogdan ogdan of theŁad Artists Co-operative. They consti- Known asadesignerofinteriors, furniture, played a no less important role in Wojciech he photographs show pre-war works by students, mainly from the 1930s, and part of the show of of show the of part 1930s,and the from mainly students, by works pre-war show photographs he the sake of a more complex form, creating Jastrzębowski’s interiordesigns. The kilim J . acek International ExpositioninParis in1925. It also continued to influence the post-war teaching at the Jan Kurzątkowski, Feathers chair, 1935, T Wojciech Jastrzębowski, Saws kilim, Oskar reter and and reter D ash, NationalMuseumin Warsaw. yrzyński). T Józef W he sheets of paper on display containing assignments hand-written by by hand-written assignments containing display on paper of sheets he arsaw arsaw Hansen’s studio at the Mehoffer, and his grants to study in J an an In the academic year 2011/12, ofstudents that studio were offered a selection of Photo by Michał Korta A W cademy by by cademy K simple graphic techniques. techniques. graphic simple arsaw arsaw urzątkowski — in modified versions, based on on based versions, modified in — urzątkowski The resulting works are shown juxtaposed with archival photographs. ( A cademy until the early 1960s.early the until cademy W J ojciech ojciech astrzębowski, and by by and astrzębowski, Photo: archives oftheMuseum Academy ofFine Arts in Warsaw Krakow. F aculty of

fessional fessional designer was also available. of the the of and moved to the the to moved and lum. lum. ly, despite financial difficulties, the enterprise expanded. estries, ceramics and metal objects. objects. metal and ceramics estries, ideas”, such as the pursuit of “perfect workmanship”, that is, the the is, that workmanship”, “perfect of pursuit the as such ideas”, of the the of products on offer there included a design for an apartment, sets from wascustomers opened at the Ł the variety of individual practicesartistic within the group and dios were set up (including ceramics and carpentry studios) and, and, studios) carpentry and ceramics (including up set were dios and and of furniture or individual pieces of equipment, upholstery fabric They first only produced fabrics: kilims and jacquards. J and curtains, tapestries, kilims and ceramics. a living-rooms, formal interiors, equipped with Ł with equipped interiors, formal living-rooms, The tentatious ones. ones. tentatious and adequacy of technique — originated in the the in originated — technique of adequacy and astrzębowski, I d pletely destroyed. destroyed. pletely W took took part in such enterprises as the form and construction were accompanied by minimalist, unos minimalist, by accompanied were construction and form most thorough know-how and technique, the best combination combination best the technique, and know-how thorough most recognizable ornamental motifs of One of the most important events in the history of the the pluralism of tendencies, which made up its style: works of of works style: its up made which tendencies, of pluralism the n in 1931, a dedicated space to andstore house works and orders A I lates, even a ministry. ministry. a even lates, of and ofstudents the ative was a jubilee exhibition s After graduating from the n n art displaying experimental approaches both with regard to ojciech ojciech design of public institutions, for instance, embassies, consu embassies, instance, for institutions, public of design T e t u t i t J i t r others: others: E C S hey were indebted to to indebted were hey

astrzębowski’s studio at the at the studio astrzębowski’s W form and function, balance between the choice of material material of choice the between balance function, and form leonora leonora C Sculpture and o-operative received a number of commissions for interior eptember 1939, Ł eptember s arsaw arsaw o t The programme was applied in practice by the s m

r o f C o p W o s A - orkshop practice was a crafts school domain. domain. school crafts a was practice orkshop r e p o J n o i t i H astrzębowski, astrzębowski, t r European centres, he co-founded the elena elena U P P a

J f o prising. prising. lutyńska, and their teachers — teachers their and lutyńska, e v i t p o r ózef ózef A Professor of the O P by side with luxurious and historicized designs. designs. historicized and luxurious with side by cademy’s graduates before the war. ld ld was established in autumn 1926 by professors 1926professors by autumn in established was l A G A R a ustic pieces of equipment were displayed side side displayed were equipment of pieces ustic e n B H W T C R T d n ukowska, ukowska, A e codified the programme, spreading spreading programme, the codified e s own own he store, evicted from the the from evicted store, he zajkowski, zajkowski, oman ojciech ojciech a

cademy, at the a a d S in 1936.in d n T ’ s l o o h c he he rooms at S A Wojciech M W stylized eagle became one of the most most the of one became eagle stylized He also taught private courses. d i l o be opened also in C K O arket, functioned until the outbreak outbreak the until functioned arket, ojciech ojciech

J o-operative resumed its operation in in operation its resumed o-operative arol arol f o widzki’s studio at the s astrzębowski’s programme. programme. astrzębowski’s J . A F astrzębowski. L I I cademy of e n i nitially, the nitially,the t featured dining rooms, studies, studies, rooms, dining featured t ucjan ucjan Art of the M S A S vantage of school workshops. P l o o h c tryjeński and and tryjeński ieczysław ieczysław Europejski Górczewska t r aris aris J F T (1937) and in (1937)in and s astrzębowski’s programme programme astrzębowski’s Jastrzebowski's aculty of Later on, . he exhibition also revealed revealed also exhibition he Ł K

T W f o a intopf, intopf, he students were, among among were, students he d E F orld ’ s xhibition in 1925.in xhibition e n i Fine jacquards. Ł jacquards.

J the spring of 1945.of ( spring the Interior A astrzębowski astrzębowski C Gdynia and o-operative took ad took o-operative It t r otarbiński, Kotarbiński, Exhibitions in Hotel. rts inArts J

Ł J Advice from a pro s influenced influenced Design and a S from 1923from an an S ózef ózef E a

d Composition of chool’s curricu chool’s d treet were com uropejski uropejski K N stores came stores to Associa furniture, tap furniture, F arol arol ew ew K aculty staged atstaged the urzątkowski urzątkowski

The range of C mem hey They Kra Y zajkowski, zajkowski, ork (1939).ork JK a Katowice. T d Gradual New stu ichy. “Ł artists artists C ) - - - o-oper H P Planes and Solids otel otel aris AF a d ) ------

LAD Artists Co-operative

5 art everywheree 6 academy od Fine Arts 1904– 1944 Rector of the study — a general course — students were obliged to produce nude and head studies and a small small a and studies head and nude produce to obliged were students — course general a — study badly.” T T number of students. students. of number ity. ity. zation of such projects as the building of the the of building the as projects such of zation ent humancharacters, includingnotable Poles. Józef Piłsudski was amongthemostoftendepicted figures. f o B I The curriculumforsculpture studentsalsocomprised exercises headsandportraying inmodelling differ ran his painting studio. studio. painting his ran T in the years 1923–1939.years the in n n at the sculpture and monumental sculpture studios. studios. sculpture monumental and sculpture atthe adeusz adeusz artist, based on the best models. models. best the on based artist, he presentation in this room features the art of selected students from from students selected of art the features room this in presentation he 1928 the host of the studio) and others, or by by etween 1923 and 1939, a general curriculum was gradually developed. developed. gradually was curriculum 1923 1939,general and a etween sculpture. adeusz format and multi-figure compositions, boldly mixing historical or religious themes with mod with themes religious or historical mixing boldly compositions, multi-figure and format ern ones. ones. ern P a plicit borrowings. borrowings. plicit Students’ sculptures were very diverse inform —from steadfast studiesfrom nature to works bordering part of the studio atmosphere, and this extended to ceremonies of “initiation” and “emancipa and “initiation” of ceremonies to extended this and atmosphere, studio the of part study. study. sitions based on freely chosen themes and architectural sculpture assignments, which were were which assignments, sculpture architectural and themes chosen freely on based sitions An especially stable and multi-faceted curriculum resulted in the birth of a of the host at the metal techniques studio operating parallel to the sculpture studio was per the basic academicexercises, theartistemployed thethemeofsports— widely popularintheinterwar free topaintaccording toone’s will, andimitate whoever we pleased, ontheconditionthat ‘it would be P In their degree pieces werestudents supposed to sum up their experience and skills acquired P

P were female. female. were prentices. Inline with thetradition, everyone would go through different stagesofinitiation, while the l figure. “At Prusz’s, everything was different. He befriendedhisstudentsand ran thestudiolikeaunion B continuation of the projects created in the monumental sculpture studio (from 1933/34 run (from studio sculpture monumental the in created projects the of continuation The outbreak of the

ber 1922.ber the key Polish artistic groups oftheinterwar period. The Professor encouraged hisstudentstoexplore H Brotherhood memberscelebrated successatthe1939New York World’s Fair. Commissioned by the or on caricature, likeJan Gosławski’s headofMarshalJózef Piłsudski with humorously distortedfeatures. studies, thattookfew years, ended with neitheraseriousnorcomicceremony of ‘liberation’. We were ruszkowski’s studio, especially in the initial period, his students painted a number of large- of number a painted students his period, initial the in especially studio, ruszkowski’s T a B e c n e d i v o r B carved in stone, alabaster or wood. wood. or alabaster stone, in carved This work by MarianKurjata was prepared foraclassinsculptingthenude figure. Carrying outoneof ganizational committee,ganizational theartistsprepared seven paintingsillustrating thehistory ofPoland forthe is a collective portrait of his fellow instudents the studio and their favourite model from ruszkowski advocated painting rooted in the styles and historical periods, but without ex without but periods, historical and styles the in rooted painting advocated ruszkowski composition based on a construction (metal framework). framework). (metal construction a on based composition The Brotherhood ofSt. Luke, established attheinitiative of Tadeusz Pruszkowski in1925, was among etween 1929 1939,and etween e n B e was friendly, often hearty, and infected students with self-confidence. self-confidence. with students infected and hearty, friendly,often was e he the tradition ofpainting, pay inteamwork. attentiontodetailandengage Owingtothesefactorsthe ohdan ohdan d o o h r e h t o r of the the of of artisanapprentices who study tomasteradifficultcraft. He was the master, and we were theap- etween 1923 and 1939, the sculpture studio welcomed altogether 156 students, of whom 42 whom of 156students, altogether welcomed studio sculpture 1923 1939, and the etween N s From left:EliaszKanarek, Aleksander Jędrzejewski, Antoni Michalak, Jan Wydra, Edward Kokoszko,

P I a itschowa or or itschowa t is not surprising that the first group of the graduates of his studio adopted the name name the adopted studio his of graduates the of group first the that surprising not is t Prusz orFatty, ashe was called by hisstudents, Professor Tadeusz Pruszkowski was aflamboyant P d n rofessor himself belonged to each of them. them. of each to belonged himself rofessor O S Breyer directed the studio from 1910 to 1952, with interruptions during the ruszkowski was appointed to the position of of position the to appointed was ruszkowski plein-air meetings in in meetings plein-air tanisław n the contrary, some interesting juxtapositions seem to prove the overall similarity similarity overall the prove to seem juxtapositions interesting some contrary, the n S , 1935–1937). A d i l o B P His assistants were F ntoni ntoni d o o h r e h t o r niewski, who invited students to collaborate on sculpture works during the reali the during works sculpture on collaborate to students invited who niewski,

A rom mid-1930 to 1932, he was the the 1932, was mid-1930to he rom f o s c . S a Bolesław Cybis, Tadeusz Pruszkowski, Jan Zamoyski, Jan Gotard, Czesław Wdowiszewski. A patinated plaster. Photo:archives oftheMuseum Academy ofFine Arts in Warsaw e d T t higher — specialized — two-year course included nude and head studies, compo studies, head and nude included course two-year — specialized — higher he he . L m M y e k u K

P ichalak’s allegorical allegorical ichalak’s f o S omaszewski (1933–1935) and H T

rofessor’s pupils, such as as such pupils, rofessor’s f o tanisław tanisław F , W he studio also gained popularity on account of the the of account on popularity gained also studio he e was to a larger extent concerned with technique and work ethos of the the of ethos work and technique with concerned extent larger a to was e I n the specialized programme, students continued with metal techniques. techniques. metal with continued students programme, specialized the n S e n i E tion”, which were celebrated with a seriousness streaked with humour. with streaked seriousness a with celebrated were which tion”, Second ach of them was a member of one of the following four art collectives: collectives: art four following the of one of member a was them of ach a I t t was considered the best one at the school and attracted the largest largest the attracted and school at the one best the considered was t A r . L of andinterests approaches adopted by thefrom artists that studio. A S E t r e k u Hall ofHonouratthePolishHall Pavilion asthree-and-a-half inaslittle months. ugeniusz ugeniusz Tadeusz Pruszkowski with Teresa Roszkowska, KazimierzDolny, 1926–1928. w s S , then, until 1938, its 1938,its until then, , , clearly alluding to craftsmen’s guilds in traditions of of traditions in guilds craftsmen’s to alluding clearly , better thantheoriginal.’” (Felicja Lilpop-Krance, Powroty, Białystok, 1991) K l o o h c W H oil oncanvas, NationalMuseumin Warsaw. Photo by Zbigniew Doliński azimierz azimierz Photo: SpecialCollections, Instituteof Art, Polish Academy ofSciences Photo: SpecialCollections, Instituteof Art, Polish Academy ofSciences Alfons orno- with students inthesculpture atelier. Photo:NationalDigital Archives Franciszek orld formed by H , F is favourite sentence was: “ was: sentence favourite is e e r A rct was an assistant in in assistant an was rct P W Brotherhood ofSt. Luke, first exhibition, Zachęta, Warsaw, 1928. -P opławski, shaped shaped opławski, Karny (1935–1936), and the host of the studio, were among ar put an end to the workartistic of all the collectives a D S n i t n i olny which were held every summer from 1923 1939.to from summer every held were which olny tudents also attended mandatory classes in C in classes mandatory attended also tudents Ta bronze, courtesyoftheartist’s family. Photo by PiotrJamski S l g Franciszek L of aHa e of trynkiewicz (1928–1939), S M d o chool’s chool’s agistrates’ agistrates’ F g Marian ranciszek ranciszek e D (after 1935, P the (after eputy eputy Józef Gosławski, Caricature ofJózef Piłsudski, 1933, T ppy M originating in in originating here is no division into groups or years of of years or groups into division no is here D T P he degree piece often took several years years several took often piece degree he irector, from from irector, Masiak, who became an assistant in 1938. rofessor at the S at the rofessor Wnuk (1929–1933). P R olish sculpture long after the the after long sculpture olish ector. ector. Michał Bylina, Hunting(An Amazon), 1930, a taught evening drawing in 1929–1937.in drawing evening taught S C , painted during his student years, years, student his during painted n, trynkiewicz, trynkiewicz, ourts, 1935–1936, T the ourts, or P C Professor Tadeusz Breyer (from right) ruszkowski’s studio. studio. ruszkowski’s T lay models were cast in plaster, plaster, in cast were laymodels here is no good picture, painted painted picture, good no is here T hroughout all those years, he he years, those all hroughout a n i t n i P Marian Kurjata, Wrestler, 1939, Józef ruszkowski’s studio. ( studio. ruszkowski’s M g arch 1935 to arch I L n the first two years of of years two first the n d o l o o h c From 1930, the function P M P g Belof (1930–1939, from rofessor’s personal rofessor’s ruszkowski’s studio studio ruszkowski’s arian arian e ) and the F the and )

f o W T F his attitude was was attitude his arsaw school of e n i W W A orld orld nuk, nuk, W to t r A J ugust 1936 ugust orld e s an an

m h t r u o E complete. in painting. e l p uropean uropean W L o G udwika udwika S ar. ( ar. Decem m

otard otard f o period. econd econd G W o p AS D p u o r ars. s n o i t i ivine AB - G - ) . ------) - - -

The Sculpture The Painting Studio of Tadeusz Studio of Pruszkowski and the Groups Tadeusz Breyer Formed by His Student's Room no. 7 Room no.6 Room no.9 Room no.8

The Printmaking Studio of Wladyslaw Skoczylas (1904–1920). work canalso be foundinEdmund Bartłomiejczyk’s personal bookplate. the Lublin Museum—oneofmany presentations ofthe group’s rich output. The unicornseeninthe its kindinthehistory ofPolish artisticeducation. The posterpresented announcesanexhibition at founders oftheRyt Association. Headed by him, the Warsaw StudioofGraphic Design was thefirstof Edmund Bartłomiejczyk was (along with Władysław SkoczylasandLudwik Gardowski) oneofthe poster, NationalMuseumin Warsaw Edmund Bartłomiejczyk, AssociationofPolish Graphic Artists RYT. ExhibitionofPrints, April 1931, undertaken inthatperiod. Skoczylas’ explorations coincided with more general attemptsatdeveloping anew nationalstyle Their style was inspired by art, folk such aspaintingon glass, andthetradition ofPolish woodcuts. themes from themountainregion ofPodhale (from theportfoliosBrigandof1920, and Podhale of1921). The selectionofprints by Władysław Skoczylasfeatured intheexhibition includes woodcuts with woodcut onpaper, Museumofthe Academy ofFine Arts in Warsaw Władysław Skoczylas, Fight with aBear, 1923, f o scene, was among themostnoteworthy artists working inthis genre. novels andromances). Władysław Daszewski, asetand graphic designerinvolved with theavant-garde employing cinematic images was particularly suitedforthispurpose(especially in thecaseofcrime mation about theproduct aspossible, andtoattract theattention ofpotentialreaders. Photomontage place toaccommodate thedesigner’s work —atthesametimecover was toconvey asmuch infor these “mass-produced books” was usually prepared intheprintingpress, leaving thecover astheonly In the mid-1920s new editions of popular and affordable books appeared on the market. The layout of private collection. Photo:PiotrRypsonarchive Władysław Daszewski, book cover: Thea von Harbou, Szpiedzy [Spies], published by Rój, Warsaw 1928, Fine Arts in Warsaw old woman], published by Ludwik Fiszer, Warsaw 1922, woodcut onpaper, Museumofthe Academy of Edmund Bartłomiejczyk, graphic design: Józef Ignacy Kraszewski, Dziadibaba[Theoldmanandthe pattern ofsailingshipsontheflyleaf). the subject-matterof book (motifsoffishand waves embossedontheleathercover, aschematic characteristic ofBonawentura Lenart, where ornamentationandthecolourpalettecorrespond with a trueof gem bookbinding. Itisalsoanexample oftheso-called “speaking”, or “expressive” binding, Stefan Żeromski’s La Vistule , theGrand-Prix winning book attheInternationalExpositioninParis is lished by Gebethner & Wolff, Warsaw 1938, Jan Straus collection. Photo by Wojciech Holnicki-Szulc Tadeusz Piotrowski, graphic design:Ewa Szelburg-Zarembina, Aa… dwa kotki [lullaby verse], pub- Holnicki-Szulc Towarzystwo Wydawnicze, Warsaw, 1924, binding, Lech Kokociński collection. Photo by Wojciech Bonawentura Lenart, graphic design:StefanŻeromski, La Vistule, published by JMortkowicz ing and its noble techniques, were were techniques, noble its and ing ers, teach leading the of personalities the least, not but last and areas, both in studies allel A shared by the graduates of the owned department. arts plied A as such oblivion, into sunk had that designers of names the recall to hand one the on helps time. long a for shadow its in remained it er, N Graphic couldarts not be found among the programmesmajor at marily from other areas, such as as such areas, other from marily lel studios of graphic design and printmaking. printmaking. and design graphic of studios lel the the of the the of W ture and applied arts. sculp painting, with basis equal an on “departments” the of one as functioned arts graphic the form of a diploma offered to to offered diploma a of form the onarska, Konarska, T teaching. teaching. of field the in also recovery influenced mid-1920s, the in market publishing the in prosperity a separate separate a hired also L G art. book graphic artists graphicof artists the atelier arts. graphic of programme the outside fell F market. publishing the for design to ers, D W T W ers, and therefore a greater influence on the evolution of their aesthetic needs. ( needs. aesthetic their of evolution the on influence greater a therefore and ers, W emy, as well as the role of of role the as well emy,as W S in held tions two the especially exhibitions, numerous to thanks larized C was taught by by taught was S 1939. until a T by taught and over taken were classes design graphic democracy”. of “art the as art graphic of postulate the fulfil could it believed and tres around around tres Book Art and His Followers A the by donated prints, students’ of presentation digital a of form the in and dent, of works the by waysexemplified as — two in enart, a versatile book artist, specializing in typeface and bookbinding. bookbinding. and typeface in specializing artist, book versatile a enart, rom then on, only those courses that, as bookbinding, were associated with rare books books rare with associated were that,bookbinding, as courses those only on, then rom he success of book artists at the at the artists book of success he he exposition also features features also exposition he he presentation of the printmaking studio in the pre-war pre-war the in studio printmaking the of presentation he hrostowski’s as as hrostowski’s koczylas ran his studio until his death in 1934.in death his until studio his ran koczylas koczylas taught printmaking as well as graphic design (except for book design, which which design, book for (except design graphic as well as printmaking taught koczylas esigners of mass published books occupied the opposite pole, yet yet pole, opposite the occupied books published mass of esigners

mong the artists involved in designing bibliophile books, genetically related to printmak to related genetically books, bibliophile designing in involved artists the mong ndrzej ndrzej ardowski, graphic artist and type designer. designer. type and artist graphic ardowski, ext to the poster, book design is the most characteristic field of graphic design. design. graphic of field characteristic most the is design book poster, the to ext F separate studio of graphic design from the very beginning, as he fully appreciated its role role its appreciated fully he as beginning, very the from design graphic of studio separate ajwód), a duo of artists: artists: of duo a ajwód), ładysław ładysław iktor iktor ładysław ładysław yczółkowski. yczółkowski. e n i B W A ook, ook, ładysław ładysław R t r S t y P s l o o h c R odoski. odoski. in W in A P T A ubinrot or or ubinrot E he first lecturer, employed in 1924 specifically to teach the subject, was was subject, the teach to 1924in specifically employed lecturer, first he ortfolio and on the the on and ortfolio S S E T number of the graphic artists associated with the the with associated artists graphic the of number S D dward dward adeusz adeusz S D dmund dmund

i c o tudio of of tudio f o espite that the subject played a significant role in that period within the ap the within period that in role significant a played subject the that espite W koczylas was appointed director of the studio. studio. the of director appointed was koczylas W aszewski and and aszewski arsaw to the the to arsaw F a ładysław ładysław arsaw in 1933 1936.in and arsaw L n o i t e n i A udwik udwik S T fter his death in 1936, the studio was run by by run was studio 1936, in the death his fter koczylas and and koczylas A he achievements of “ of achievements he (1926–1939), including (1926–1939),including S C B t r K koczylas’s heir. ( heir. koczylas’s zerwiński was assistant of all of them (1924–1938).them of all of assistant was zerwiński artłomiejczyk, who took over the teaching of design. design. of teaching the over took who artłomiejczyk, ulisiewicz, ulisiewicz, s G Z only in 1923.in only raphic raphic ygmunt ygmunt G A ardowski in the years 1924–1929).years the in ardowski professional printmaking studio was established at the state- at the established was studio printmaking professional S koczylas. koczylas. E E Z J dmund dmund ryk ryk G A ygmunt ygmunt D L i n o l l e i eon eon M J esign, the first in in first the esign, W E urkowski, on the other to discover new artists, known pri known artists, new discover to other the on urkowski, S School. L w e dmund dmund all (1936), all and tefan tefan ipiński and and ipiński S a W W a I koczylas when he was made its its made was he when koczylas ( P T ncorporated into the one-faculty school structure, structure, school one-faculty the into ncorporated B n adeusz adeusz J ładysław ładysław aris exhibition in 1925, and in particular a period of of period a particular in 1925, in and exhibition aris T yczółkowski’s teaching episode at the at the episode teaching yczółkowski’s L MS artłomiejczyk as a partner, and and partner, a as artłomiejczyk J adwiga adwiga he programme and the education process are shown shown are process education the and programme he urkowski had a much greater access to the custom the to access greater much a had urkowski i b S r M ) koczylas’s school” in in school” koczylas’s B a T y r rożewski, rożewski, artłomiejczyk shaped the style of book graphics graphics book of style the shaped artłomiejczyk adeusz adeusz collection in 1932.in R collection C A ieślewski ieślewski S O R J ndrzej ndrzej alomea alomea D I ther elements of design were taught in paral in taught were design of elements ther anina anina ecently, increasing interest in book design design book in interest ecently,increasing S n 1929, he was succeeded by by succeeded 1929, n was he aszewski. aszewski. T tanisław tanisław H P heir co-operation, merging curricula, par curricula, merging co-operation, heir C e was followed by 82-year-old 82-year-old by followed was e oland, which trained students, among oth among students, trained which oland, ieślewski ieślewski S tanisław tanisław R R H óża óża ubinrot, or the aforementioned aforementioned the or ubinrot, J ładki, ładki, E r., author of the seminal seminal the of author r., dmund dmund H O G e favoured the idea of setting up up setting of idea the favoured e stoja- S iedroyć- J chool, then the the then chool, I r., r., nternational nternational H S P E O is students were members members were students is oland and abroad were popu were abroad and oland tanisław tanisław t y dward dward stoja- W B W A artłomiejczyk until 1939. until artłomiejczyk arsaw arsaw C iktoria iktoria S S hrostowski. H T i c o W W onorary onorary adeusz adeusz a awrzynowicz, his stu his awrzynowicz, a C M S r n o i t hrostowski and and hrostowski A S tanisław tanisław anteuffel, anteuffel, O A w is also present in G stoja- cademy practiced practiced cademy S I oryńska, oryńska, n 1926, n the I B W W n 1930, he created 1930,n created he l o o h c P onawentura onawentura A arsaw arsaw iotrowski, iotrowski, M oodcut oodcut cademy, cen cademy, ember in 1932.in ember

C f o L O eon eon hrostowski hrostowski W F stoja- A AS e n i oodcut in in oodcut H ntoni ntoni A J c I owev L E A n 1926,n ) a anina anina cad S udwik udwik xhibi e d chool chool t r m s y -

-

------7 art everywheree 8 academy od Fine Arts 1904– 1944 Adam Kossowski was a member of Pryzmat group, however the mouldable equivalent of nature with purely painter sionism, seems negligible. negligible. seems sionism, set up by the students of up set by students the referring to national values. values. national to referring the colour colour was not always the most important element ever, as early as in the 1950s, their well thought out out thought well 1950s,their the in as early as ever, J The canvas was a space for rendering a and monumental forms seen in his compositions an the P ly means. lymeans. the mostpopular genres explored by thePolish colourists. to colour over content in painting. painting. in content over colour to larization of the whole of the tendency; at the other, opposite end were the paint the were end opposite other, at the tendency; The C and and art favouring drawing and disciplined composition. composition. favouringart drawing disciplined and ózef ózef with the the with C ment in development of his award-winning project for decoration the version favoured by the and well mastered technique was a point of depar aris, where they had studied under the tutelage of of tutelage the under studied had they where aris, cember 1931.cember early work by theartist, datingfrom thetimeofhisstud- of the hall of of thehall Warsaw’s MainRailway Stationconstructed T ings of of ings swered the needs of the state in the 1930s. the in state the of needs the swered — the painterly reality of nature took precedence. precedence. took nature of reality painterly the — T been compared with the P olourism emerged in the mid-1920s, as a reaction to o Still lifes,Still along with landscapesandnudes, represented not connected to any social or political message. message. political or social any to connected not the dominance of the applied arts, graphic art and ies. The outbreak oftheSecond World War thwarted the garde garde saw in the first exhibition of the the of exhibition first the wo elements contributed decisively to its develop he conception of of conception he C P and his writings. M M J he worked primarily with mural painting. Flowers isan C ruszkowski’s pupils treated the the treated pupils ruszkowski’s An important event which contributed to the po with hostility. hostility. with z y r zyżewski’s paintings from W olourists did not paint abstract pictures. pictures. abstract paint not did olourists c e ż o r o n d e KP P Z P e e t t i painting of arsaw P olish tradition of of tradition olish k i n r o w A M ierre ierre ankiewicz, absorbing the art of of art the absorbing ankiewicz, Group occupied one extreme of the t ( Poland. F V KP P elicjan elicjan W i s arisian art scene, shaped by by shaped scene, art arisian A G u ) group in in group ) B ourists for extreme individualism. ( individualism. extreme for ourists hich is why, despite the name name the why, despite is hich S a S S oil oncanvas, NationalMuseumin Warsaw. d l i u onnard. onnard. l l o o h c A T i c o his was following their return from from return their following was his i t r

C f o a ture for their pupils’ abstractions. pupils’ their for ture The first was the evolution of olourism an argument art against n o i t iotr Piotr s V Room no.10 S

t f o T zczęsny zczęsny s i s G F

C he representatives of the avant- the of representatives he The other was the art of the u f o olourist painting, especially in in especially painting, olourist a e n i p u o r K A V Adam Kossowski, Flowers , c. 1930, l A rakow, 1924–1934), two groups 1924–1934),groups rakow, two Michałowski and lthough lthough A i s i t r C F u ( Photo by Krzysztof Wilczyński t r a elicjan elicjan olourism, referring to referring olourism, T W s l É s he KP he A t e l o c from 1930.from owarski, who taught at taught who Kowarski, arsaw, 1933–1939) and the arsaw, 1933–1939)the and s i t r ( KP KP K T

s F rakow, 1925–1935),rakow, and e d hey criticized the the criticized hey group in in group t Polish art scene was ormism to C s G Group tried to build P ( olourism has often often has olourism S roup, gave priority roup,priority gave K a zczęsny zczęsny i r rakow, 1928–1939).rakow, s C T , its connection connection its , olourist trend trend olourist he picture was was picture he T P he simplified simplified he P “ aul aul W Aleksander ost- plastic in the1930s. C Gierymski. C arsaw, K C olourism, olourism, olourism olourism owarski: olourist olourist C T I ézanne ézanne adeusz adeusz mpres T H ytus ytus WW P or ” or

C ow the the a D ol i r e s ) ------Colourists from Felicjan Szczesny Kowarski Studio The interwar period saw the development and peared in a commercial space designed by art period, often selected for execution by means means by execution for selected often period, and for all”. for and and students. students. and ous aspects of monumental art, being a public for international exhibitions, setting of state saw saw ers, ers, Monumental art includes on the one hand per ment of the ocean liners represented the ful ists, as shop window dressing, posters, post posters, dressing, window shop as ists, invited graduates. graduates. invited cards, packaging, and even match-box labels. labels. match-box even and packaging, cards, tions have remained unchanged and are still those was the furnishing of ceremonies, and scenography for the theatre stations, churches, or government buildings, stations, buildings, or government churches, on the other — provisional pavilions designed Poland and the European jects, such as coins, banknotes and postage postage and banknotes coins, as such jects, filment of the principle of “art everywhere” everywhere” “art of principle the of filment a joint effort of the academic teachers and the idea of “art for all”, or “art everywhere all”,everywhere “art or for “art of idea the tified in drawing the viewer’s attention also or the setting of balls organized at the A sented in the country and abroad. abroad. and country the in sented ies, public service buildings, such as railway T applies to society, health and trade. trade. and health society, with a with — in the achievements of of achievements the in — stamps, were works of art in the interwar interwar the in art of works were stamps, collaboration academic teachers between P he community of Thethe community building and a prospective centre of events he "treasury" reminds us that common ob common that us reminds "treasury" he number of the projects were developed in manent realizations: monuments, cemeter Art will be found in all areas of life. to the relationship between art and sport.and art between relationship the to of competitions. competitions. of spread of advertising, related to culture, culture, to related advertising, of spread e c n e d i v o r 1. M manifestations and other mass meetings. S l o o h c / T vilions designed for world exhibitions. S he he

symbolic dimension, such as parades, such dimension, symbolic Piłsudki

f o O in the F cean cean F ootball ootball Polish diplomatic missions or pa T e n i his section includes the follow the includes section his O A ne of the most spectacular of of spectacular most the of ne t r Ukraine this year, we feel jus L Mokotów iners iners s and M/SBa and . ing parts of the exhibition: exhibition: the of parts ing T The unrealized Championships are held in he furnishings and equip and furnishings he S ome medals and decora and medals ome M 3. T A / cademy propagated S e Field embodied vari 2. P m

Piłsudki olish artists pre artists olish T e l p M Polish ocean lin herefore art ap art herefore tory

onumental onumental f o 4. 7. 6. D 5. “ S A S ivine , which was was which , tage tage T used today. dvertising. dvertising. port in in port e T m reasury” T and M/S and e l p P his also also his e c n e d i v o r Ba (JG D

f o As the esign D W tory ,) AS A A ivine ar rt rt ------

ists ofists the circle of the M a transport ship (during the the (during ship transport a Decorations of both liners were developed while M/SBa while ture salons. salons. ture dishes; “for all” — every passenger, in both both in passenger, all” every — “for dishes; mention mention ers was the result of deliberate planning. planning. deliberate of result the was ers

M/S Piłsudki Art Everywhere Karny contributed his dining room by Piłsudki E ing to become floating aria aria B W Ba B young people, even students. students. even people, young R contributing artists therecontributing artists were M lective effort, made for the most part by by part most the for made effort, lective W by a working party directed by rate, from both the the both from rate, dining-room, in brochures, menus, on the the on menus, brochures, in dining-room, with with dward dward T Jeremi fulfilment of the principle of “art every “art of principle the of fulfilment even aboard a ship, in the lounge, chapel, chapel, lounge, ship, a the in aboard even from different backgrounds to collabo teachers and graduates of the the of graduates and teachers reyer and and reyer J S rukalski as members. members. as rukalski ope tourist class. class. tourist A J ar) and again as a passenger ship (until (until ship passenger a as again and ar) he interiors of of interiors he tourist class (then the first class) and and class) first the (then class tourist anteuffel, anteuffel, anda anda astrzębowski. astrzębowski. made the caryatids for the ship, the for caryatids the made tory alomea alomea where and for all”. “ for and where astrzębowski. astrzębowski. ed, headed by by headed ed, diverse in nature: wood intarsia in the the in intarsia wood nature: in diverse The interior design of figureheads for both ships. ships. both for figureheads versity of of versity special of the ocean liners thus became a col M were: were: us by C Scolvus , T ieczysław ieczysław students: students: A ybisowa, ybisowa, L adeusz adeusz ech ech , or decorations cut in linoleum by by linoleum in cut decorations or , leksander leksander B T Room no.11 M Kubicki and Wdowiszewski and elakowska, M elakowska, and M/SBa and olesław olesław anteuffel. anteuffel. Edmund L H N ech ech rts Arts tory F ładki). ładki). T iemojewski as secretary, and and secretary, as iemojewski ranciszek ranciszek to the smoking rooms of the he he sank on 26th 26th on sank A P T ntoni ntoni ruszkowski and and ruszkowski N echnology, including many many including echnology, Zygmunt J C for a long time served as as served time along for M iemojewski and and iemojewski otarbinski, and Kotarbinski, anina anina W Sub-committee was elect T ommittee invited artists artists invited ommittee P H he authors of furniture furniture of authors he C ieczysław ieczysław L Ż artłomiejczyk andBartłomiejczyk his ojciech ojciech olish ocean liners, liners, ocean olish W e designed ornamental ornamental designed e amps were designed by by designed were amps ybis, ybis, urakowski — urakowski Edward all decorations were were decorations all W tory A A mong the other art other the mong ajwód and and ajwód cademy and the the and cademy A Girl with onarska, Konarska, w e Polish art and cul A S cademy we should T L Kamiński for trynkiewicz, who who trynkiewicz, rt everywhere” — everywhere” rt a he ships were go were ships he eonard eonard represented the Polish ocean lin

atelier ( atelier the J Art Everywhere N astrzębowski, astrzębowski, S J ovember 1939, ovember W J econd econd an

urgielewicz, urgielewicz, T third class. class. third ajwód withajwód he interior interior he A S a Zamoyski. Johannes W W mong the the mong tanisław tanisław 1969). ( A P

J C Skipping the men the T cademy. cademy. ękalski, ękalski, E ojciech ojciech ojciech adwiga adwiga zesław zesław adeusz A dward dward W lfons lfons orld orld M M the Ocean Liners U JG ni / / S S ) ------

m/s Pilsudski and m/s Batory between Gdynia, Halifax, andNew York, were operated by was aslong310 metres! Inthe1930s, ajourney from decorated with aplate with theroyal coatofarmsking of Transatlantic Ship-Ownersrose from 1,5%in1935to ing tothesenew ships, GAL’s marketshare injourneys vessels, theliners were mid-sized, with alengthof162 Konstanty MariaSopoćko, Colonies Are Markets, Areas of of Parana that forPolishbecame hometoasettlement Stefan Batory, thepatron oftheship. Linersontheroute operated by membersoftheInternational Association pany can be seeninthelower-right corneroftheposter. was usedtodecorate thesmoking-room ontheocean Gdynia toNew York tookfrom eighttoninedays. Ow- propelled by driving dieselengines two screws. When Gdynia America Line (GAL), thetrademark ofthiscom- sengers and1200tonsofcargo.sengers Compared tomodern parison, themostfamousoceanlinerinhistory, RMS celebrations oftheFeast oftheSeaaimedatpromot- 1934 theLeague purchased partoftheBrazilian state The launch ofM/SPiłsudskitookplaceonDecember19, metres anda launched intoservice, each shipcouldcarry 760pas- liner M/SPiłsudski. Itsnumerous copiescan be found ing theambitionsofPoles foroverseas expansion. In Human andEconomicExpansion, 1935, poster, National the Grand Honorary Sports Award. The original work in anumber andpublic ofcollections sitesinPoland 1934. The bow oftheliner was decorated with a gorget Titanic, hadalengthof267metres, while RMSQueen — includingthesquare infront oftheUniversity of the ornament foundinrank insigniaofa general. The MaritimeandColonialLeague foundedin1930 was thelargest public organization intheinterwar at theNationalOlympic Art Contest, becoming the Mary (builtin1934, thesame year asM/SPiłsudski), symbol oftheFirst ofthePolish Brigade Legions and period. The League initiatedsocialcampaignsand Girl with aJumping-Rope won theGrand Prixaward Physical Educationin Warsaw, andsculpture park plate, designed by Wojciech Jastrzębowski, with the most popularsportssculpture andthemodelfor The sistership, M/S Batory, ontheotherhand, was M/S PiłsudskiandBatory were sister vessels Alfons Karny, Girl with aSkipping Rope, 1931, Eugeniusz Szparkowski,Eugeniusz Gdynia–America beam of21,5metres. Bymeansofcom- bronze Museum ofSportsand Tourism. poster, NationalMuseuminPoznań printed matter, private collection colonists namedMorska Wola. Brochure M/SPiłsudski, 1935, Shipping LinesPlc, after1935, Photo by P. Krasowski Museum inPoznań in Radziejowice. 3% in1938. in urban space: c for the design of the ceiling of the Hall ofPolishfor thedesignofceilingHall Cavalry atthe Wawel Castle. Poznań (1929), while themonument was officially unveiled onNovember 11, for the exhibition pavilions in in pavilions exhibition the for The modelforthe Airmen Monument was conceived by Edward Wittig 1922, ture. ture. the war war the Colourism. A memberofdifferent artistic groups (Rytm, Jednoróg, Pryzmat), a destroyed by theNazitroops. The new monument, made by Alfred Jesion in S ing atthe Academy ofFine Arts inKraków, and was namedProfessor ofthe the mosaics of the departure hall in the the in hall departure the of mosaics the ates of of ates M pleted. The model was firstpresented attheGeneral NationalExhibitionin Felicjan Szczęsny Kowarski was afigure ofparticularimportancefor Polish Sczęsny Kowarski headedthestudioofmonumental anddecorative paint- collaborated with him, were temporary in principle, as the ceilings ceilings the as principle, in temporary were him, with collaborated n o i t nudes. Along with Jan Seweryn Sokołowski, Kowarski won thecompetition This section of the exhibition also includes an example of sculpture exhibition by the original size head, its model and a photograph. ( The outbreak oftheSecond World War forced abandonment oftheproject T ome of of ome 1932 in Warsaw’s UniiLubelskiejSquare. Following theSecond World War, the existing modelsallowed forthereconstruction ofthe work which was were never completed as a as completed never were sgraffito technique on the the on technique sgraffito ini fessors: fessors: Warsaw Academy in1930. Hisfavourite themesincludedlandscapesand rojanowski’s studio of decorative painting, continued by by continued painting, decorative of studio rojanowski’s their students. students. their or the ceiling of the 1967, was placedinŻwirkii Wigury Street leading tothe Warsaw airport. owarski and and Kowarski (1932), while (1932),while ) by by ) assembling public buildings there were the design of s P in in however, it was longafterthat memorial when thefull-scale was com- ry tr a tegrated with architecture — was an important element in element important an was — architecture with tegrated decorations for the rooms in in rooms the for decorations spectacular realizations in the area of decorating, arranging, arranging, decorating, of area the in realizations spectacular ękalski, and and ękalski, T “

M he contributing projects were executed by the following following the by executed were projects contributing he dry tempera andsilver platingon wood, Wawel Royal Castle, Krakow frieze, located in the cloakrooms of the the of cloakrooms the in located frieze, W

and and W r o f T onumental” art — painting and sculpture created for and in and for created sculpture and painting — art onumental” arsaw, where where arsaw, S owarski’s works, as well as those by by those as well as works, Kowarski’s adeusz adeusz ojciech ojciech okołowski continued teaching monumental painting at the at the painting monumental teaching continued okołowski R grammes of two studios of the the of studios two of grammes ceiling of the Hall ofPolishceiling oftheHall Cavalry at Wawel Royal Castle, 1939, F J eli elicjan elicjan eremi eremi g iou Felicjan Szczęsny Kowarski, The Age ofKnights, designofthe Airmen E s P dward dward D J ruszkowski’s studio: studio: ruszkowski’s P B astrzębowski and the refurbishment of the the of refurbishment the and astrzębowski T K o n e ękalski, before they moved to to moved they before ękalski, ohdan ohdan hey were also completed by the following gradu following the by completed also were hey ubicki, and even graphic artists, such as as such artists, graphic even and ubicki, S m zczęsny zczęsny Memorial by n i P H Edward Wittig, modelof Airmen Monument, 1922, a resident resident M a n o i t l l anteuffel was responsible for the clock in in clock the for responsible was anteuffel P

f o niewski’s studio of sculpture in architec in sculpture of studio niewski’s s

P M a

result of the war breaking out, such as as out, such breaking war the of result C d n owarski, Kowarski, P P i l o anteuffel, anteuffel, astle elevation (1938). elevation astle aris (1937) aris and alace — then the M the then — alace P s h u M C b Room no.10 which exists today asdocumentation. c i l ościcki resided, resided, ościcki Edward a plaster, NationalMuseumin Warsaw W v E a awel awel y r l c u d B in in L a olesław olesław A n o i t eonard eonard W ntoni ntoni C W W arsaw arsaw Wittig, represented in the astle. astle. (now M (now arsaw arsaw awel awel N ew ew N J W orth wing basement basement wing orth an an W P C ini C I ajwód and others. and ajwód ękalski, as well as as well as ękalski, M Y ybis, ybis, arsaw, worked on on worked arsaw, n the the n P astle (1938). astle s A ork (1939).ork ini S ain ain ękalski executed executed ękalski ry tr cademy: cademy: A okołowski, who who okołowski, s mong the most most the mong ry tr

f o J S R F

an an tation (1939)tation f o oyal r o i r e t n i i e r o N Z A

a Art Everywhere amoyski amoyski L g n o i t cademy. cademy. E E n eonard eonard O dward dward dward dward C A B thers thers A s astle astle a f f

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forced-concrete structure. structure. forced-concrete complex in 1937.in complex ink onpaperandcard, NationalMuseumin Warsaw tural elements of the the to It was planned that military parades and pub on the on Mostly unsigned and undated drawings of the 1921 concerning the ble for the architectural design of the whole

the studio of monumental sculpture Monumental Art competition did not bring the expected result. expected the bring not did competition ed in 1938 in at the ed students atstudents the tion should be organized, intended for invited drawings) are little known part of his legacy T architects, which was eventually resolved at T church was revived under the P the highest rated, and it became the basis for developing detailed plans for the church and b the stitution stitution of 3rd by students in 1936/37 and 1937/38 are not ex 1936/37in 1937/38 not and are students by Only in 1929, an open competition for a er was reminiscent of a modern skyscraper. The development of architectural and sculp one of the assignments that emple. emple. omorrow saw, and being only recently discovered. ( for the a It was only days two after adopting the academic yEAr 1933/34. lic ceremonies would be held in front of the iłsudski iłsudski tant; we know them only from photographs. photographs. only from them tant;know we It was decided that another, closed competi y the with sculptures was to be placed above the main entrance, and that was to be repeated repeated be to was that and entrance, main niversary celebrations were held by a Divine the entire width of the stairs. stairs. the of width entire the level square to the main entrance. entrance. main the to square level decided to erect the Perspective View ofaSolidfrom thePresbytery, 1931, the end of 1931. that is held by the

work wall with figures of saints occupied votive for “delivering winner was the violence”. architect (including perhaps his students’ students’ his perhaps (including architect and on 30 ment of its foundations, which survived in into into the development plan of the B F and the interior displayed a visible rein Bohdan Pniewski, Temple ofDivineProvidence. ollowing ollowing otanical

axes of the side entrances. entrances. side the of axes

T F e

our- A Providenc m Temple on broad stairway led from the lower- the from led stairway broad e l p D exhibition at the Room no.10 istrict. istrict.

Year Sejm f o April 1930 it was announced that During the partitions, secret an D G T J B ivine arden. A Wa he final version was present was version final he ózef ózef ohdan May 1791 that the c Pniewski’s design was again a P e d r P will Mokotów

ex e c n e d i v o r sa niewski became responsi became niewski m N P T y tha e iłsudski’s death in 1935,in death iłsudski’s ational

w, T f o cution of the The idea of building the m Pniewski. e e l p be m F laster Plaster models made Yes Poland from foreign e l p e n i t

Art Everywhere

f o er was incorporated a

A A f o its its surroundings. D N t temple n openwork tow openwork n Field was called, t r D e ational ivine Pniewski set his cted in Museum in rd Act of 17 March s ivine , where he ran A However, the P a T form filled filled form y, P e c n e d i v o r F in he facades facades he r u o e c n e d i v o r vow dedic T FROM od Marshal W Warsa A Museum Temple of Divine -Y arsaw.

n open n design e a a

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tumes for W M W S second-year instudents the work on his stage set de worked mostly with T sets for specific plays. plays. specific for sets er, with stagedesign by Władysław Daszewski inhisdebut

nographer was his 1927 design of stage sets and cos and sets stage of 1927his was design nographer providence of stage design was extended to two years. years. two to extended was design stage of s War in War by Adolf Nowaczyński (directed by LeonSchill- chiller, was continued by successive generations of of generations successive by continued was chiller, history, stage and costume design, as well as teach as well as design, costume and stage history, R tical workshops, model making and designing stage stage designing and making model workshops, tical professional ranking of both both of ranking professional signed signed he exhibition also includes includes also exhibition he the second year, students were introduced to prac to introduced were students year, second the oscow coincided with the death of of death the with coincided oscow as setdesigner)premiered in Teatr Polski in1927, stirring i k ith time, certainly by 1935, the academic programme programme academic 1935, by the certainly time, ith ładysław ładysław W after which he took over the course at the considerable controversy. The designoftheperformance fies not so much to the low status of the course as as status course low the of the to much so not fies as as references tothepresent-day as well aspastages. Inthe a loose interpretation ofthe Antique. The costumes bore oszkowska and and oszkowska to the interdisciplinary nature of the courses. courses. the of nature interdisciplinary the to S pal pal nant in the 1930s and propagated in in propagated 1930sand the in nant T ject at the at the ject year was dedicated to lectures on theory: theatre theatre theory: on lectures to dedicated was year he directed the ing various technologies of building stage sets. sets. stage building of technologies various ing young stage designers, graduates of the the of graduates designers, stage young F cal techniques at the light, with characteristically deformed architec deformed characteristically with light, D at 1927, gouache andpencilonpaper, Theatre Museumin ładysław ładysław tage design was considered a supplementary sub S years tocomeDaszewski worked asdesignerfor many e n i e h was asurprising blend ofConstructivist elementsand Władysław Daszewski, costumedesignforWar in War, student student set design for rabik (who taught in 1918–1919in taught (who rabik 1930–1933)and and T tanisław tanisław of War in War, 1927, gouache, pencilandinkonpaper, a eresa eresa ture. ture. T A T W e r t socially performancesdirected engaged by Schiller. adeusz adeusz heatres in in heatres t r Władysław Daszewski, stagedesignforIandIIact incenty incenty E . xpressionist decorations, using colour and and colour using decorations, xpressionist s I War in in in n 1933, his return from studying theatre in in theatre studying from return 1933, n his W D R aszewski (1933–1939), speaks in favour of of favour in (1933–1939), speaks aszewski W hen he lectured at the lectured he hen oszkowska’s costumes designed for the for designed costumes oszkowska’s D S P W arsaw. arsaw. aszewski studied at the S at the studied aszewski chool. chool. ruszkowski’s studio. studio. ruszkowski’s so important for D yspiański in in yspiański War rabik, a pupil of of pupil a rabik, W I P rena rena ainting arsaw. arsaw. P by I l o T t was “free-lance”, which testi which “free-lance”, was t the subject’s significant role. role. significant subject’s the he neo-realist tradition, domi tradition, neo-realist he s D L Adolf i k ienna Vienna aszewski used to involve his his involve to used aszewski orentowicz, who were later later were who orentowicz, signs for T e h H Department of the Balld Theatre Museum in Warsaw Corridor is pupils included included pupils is a K K e r t azimierz azimierz rakow, studied theatri studied rakow, Nowaczyński at the Krakow P in in K rofessors: rofessors: n u Polish stage design. J (1925–1934) as well (1925–1934)well as W ózef ózef s W S t arsaw. arsaw. W g arsaw theatres. l o o h c H r e w e incenty incenty is debut as sce as debut is P P Tale M oland by by oland ręczkowski’s ręczkowski’s l o o h c

b f o ehoffer and and ehoffer e s F (1937). ( e l u h c F W

e n i A f o T rom 1921rom Art Everywhere A cademy. he first first he incenty incenty F Warsaw A D c Munici T . a e n i rabik, rabik, eresa eresa t r e d H L e de e A s m eon eon T , he he , P AS y t r he he

l o I f o n n s ) ------

9 art everywhereeStage design 10 academy od Fine Arts 1904– 1944 Chrostowski. a ceded by competitions. sistants and instructors: instructors: and sistants competition designs for this field was the career of one of the prizewinning of the he majority of pre-warThe majority coins were designed by the following 1927) and medals. and In 1928, the first silver currency money was brought into l works were appreciated at the 1937 S (1-złoty (1-złoty and coins),2-złoty (1927–1932), by then panies asFraget andNorblin. Their puristic, functional E Their production and issuing were most often pre 1924–1925. products are represented byeminent gradu two coin was produced in limited editions until 1932, and is u p circulation. The test specimens of the 5-złoty coin were sets formassproduction, manufactured by such com- tanisław belonged to Julia Keilowa, breakfast set, 1930s, silver platedmetal, niques in order to be able to produce various ob T sculpture from 1925, studying metalwork underKarol stamps, securities and banknotes was also under (1-złoty coin) and coin) and (1-złoty dent, and academic teacher in later years, the shapes were complemented by ornamentation subtle and stamps, jewellery and other handicraft ob handicraft other and jewellery stamps, and bly’s first term of office (1919) and the adoption of — asisthecasein breakfast setsforthePolish ocean by foreign mints. first first series of postage stamps of the taken by o p x adeusz grosz coins and the coin),5-złoty taught all the different metal processing tech b presents presents the form of the “fraction notes”, issued minted to the design of Edward Wittig from 1928. The The teaching staff of the Bartłomiejczyk. Stryjeński. The artistdesigneddishesandtableware V School’s teachers: Grunwald and c i l the students, classes (from 1925). (from classes among others, jects on their own. own. their on jects M Wittig, Julia Keilowa frequented Tadeusz Breyer’s studioof Medal of arious medals, distinctions, coins, banknotes banknotes coins, distinctions, medals, arious Leon Wyczółkowski DistrictMuseuminBydgoszcz s workshops, initially run by by run initially workshops, , issued to commemorate the n o i t i Grand by ieczysław ieczysław White C As to postage stamps, they were designed by, their knowledge and skills with students. students. with skills and knowledge their Yet the greatest achievements in this field Mieczysław onstitution onstitution (1921). ates: ates:

f o F jects have been placed in the Breyer was a master of medallic art. Władysław ranciszek ranciszek A They replaced coins that had been struck Noakowski and Zygmunt S t r Eagle and Prix. tanisław Interestingly enough, this section also Edward Edward Wittig, 5-złotycoin, 1930, Independence have remained in use to s Mieczysław S H the present day as he designed them.

a tanisław enryk enryk d n Room no.11 otarbiński ran metal techniques techniques metal ran Kotarbiński W T S silver, NationalMuseumin Warsaw Edward liners M/SBatory andM/S Piłsudski. o l o n h c e E E ojciech ojciech They created the patterns of the tanisław Kamiński and xhibited separately are the 1920 otarbiński, together with as with together Kotarbiński, dward K M otarbiński (completed), and by Grabski’s monetary reform in G Ostoja- W One of the success in stories Polonia asiak (from 1930). (from asiak runwald and and runwald M I ojciech ojciech S n this section, handicraft handicraft section, this n g Repeta, as medallic artist. currently considered ararity. arshal y tudents were able to use use to able were tudents Edward K

Later on, the designing of Trojanowski and his stu in H Mieczysław J W otarbiński — his M enryk enryk astrzębowski, S ittig (the 5-złoty coin). (the ittig 5-złoty Repeta also produced Chrostowski, l o o h c n r e d o Restituta, the J P astrzębowski (all S Legislative K iłsudski's batons,

Trojanowski. ( f o L tanisław G arol arol e f i runwald (from (from runwald F T P adeusz J e n i and awarded aris ulia ulia S K A “ d n o c e S treasury otarbiński t r T tryjeński tryjeński hey were were hey I K

s Art Everywhere n r e t n Edward shared dmund Edmund P eilowa. Ostoja- Henryk Orders reyer Breyer Assem i l o Cross s a h n o i t His JG R ”. e ) ------winning works. S 1931 onwards, the casion of the 100th anniversary of the of 100thanniversary the of casion A competitions started to gather momentum. (1936), and the gold medal was also won by by won also was medal gold the (1936), and but, for financial reasons, they were able to par stitute had an idea to replace traditional prizes, prizes, traditional replace to an had idea stitute that incorporated art and competitionssports I of competitors for the 10th international fairsandcontests, such astheInterna - “Treasury” Already in 1908, the next one — hibition were held before the 1936 of of t r o p programme included painting, sculpture, litera n the interwar period, sport reverberated unu reverberated sport period, interwar the n only since the 1924 t r Poland. It was there thatthetwo celebrated aviators tests, organized by the G titions were preceded by national level art con Sports-themed exhibitions were organized in re a call for entries to the nowned exhibition spaces, such as the in theinterwar period—celebrated with numerous following two medals for literature: the gold gold the literature: for medals two following such as medals or cups, with works of art that gan to prepare for the contest as early prepare to contest the for as gan 1922, P medal for for medal medals for the the for medals ture, music and architecture. Bolesław Surałło-Gajduczeni, Water Sports Are aJoy of bronze medal for for medal bronze Franciszek ŻwirkoandStanisław Wigura won main tional Challenge ofthe tional Challenge Aero CluboftheRepublic of was presented to tions that accompanied the first of which, designed by of which, designed first the after the the after Aviation was theprideofPolish sportandindustry T Tadeusz Trepkowski, Marek Żuławski, Challenge. Aero m the idea of art competitions accompanying the ames in Club oftheRepublicPoland. 28 August –16 September Olympics. articipation in the P sually strongly in art. in strongly sually Angeles, 1932, and the exhibition hall for prize Life. The First Exhibitionof Water Sports. Bagatela1933, the co-organizer of the national qualification ers, sports trophies and badges, e.g. the P the e.g. badges, and trophies sports ers, ticipate in would be createdwould especially thatfor purpose. of of O gogues and graduates of the he 1948he competitions in e e t t i remaining five medals were won by the peda s trophy of that kind was that of the kind A trophy p o r J O lympic art competitions, the P the competitions, art lympic B W anina anina stoja- F a A G A and the the and ine ine 1934, 1934, poster, NationalMuseuminPoznań ładysław ładysław d g e d n . Amsterdam, 1928. A L T 1933, poster, NationalMuseumin Warsaw a rts. rts. ondon ondon onarska (1932) and Konarska hey also participated in art competi art in participated also hey . S C K His first attempt to combine the two ome artists Someassociated artists with the

econd econd hrostowski (1936), silver medals to to medals (1936),silver hrostowski Room no.12 azimierz azimierz the event only since the 9th Girl with P nother Another such competition and ex B Pierre de i l o P ronze medals were awarded to to awarded were medals ronze S I Karny — went to s n olish artists, among them the the them among artists, olish koczylas (1928) and koczylas O h s S W P lympics were the last games games last the were lympics S J O e t u t i t tockholm, 1912, failed. aris an an tanisława orld orld y l Olympics resulted in seven W m P a

i p ierzyński in 1928 and the the 1928 in and ierzyński P r o f arandowski in 1936.in arandowski Skipping C i l o Olympic a A n ports inSports oubertin came up with Olympic W A s s rtists designed post designed rtists International compe h A ceived medals there. Olympic ar. ar. t r O S S P y l i c o olish artists Polishbe artists p o r W K I m J n 2012,n oc the on C W c i p lukowski (1932). lukowski ózef ózef a alasiewicz, and G G zesław A G A n o i t Olympic R J arsaw ames that art G r C i l o adwiga adwiga ope a ames and re Art competi G o d n d n prize in1932. s announced M M h ames in K a S S O

by was both was both tradition tradition lukowski lukowski I tanisław tanisław e e t t i in t r o p n y l

tion. ( tion. Art Everywhere s Olympic K m School e t u t i t lfons Alfons Berlin. G nothe, nothe, It was c i p . W s J ames ames From heir Their P ózef ózef C ajs. i l o T L e z i r

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number of press reviews prove the growing signifi reopened in 1923, werestudents obliged to take a its, tobacco products, and salt; the posters for the duced more complex ones. ones. complex more duced

ing. Sport in art 1920s resulted in an increased demand for advertis In 1937thePolish Match Monopoly launched acompeti- cluding shop poster designs, trademarks, package package trademarks, designs, poster shop cluding cance of this academic circle. circle. academic this of cance The tradition of graphic design teaching dates back lished in tisements, and event posters. poster, Ethnography and Artistic Crafts MuseuminLviv. papers and posters. posters. and papers articles from the “ as well. posters posters designed for the state monopolies on spir Tadeusz Kryszak, SugarStrenghtens, 1931, poster, reprint Wajwód, works with motifs from thehighlander Hutsul advertising campaign entitled diplomas, displays of the studio’s creative output output creative studio’s the of displays diplomas, azine posters posters and competition entries. and after 1930, member of the the of 1930,member after and the readers to vote forthe best poster. The competition the Polish Industry Sugar announcedacompetitionfor sic graphic art course. were the abstract andtypographic proposals of Antoni the academic year 1938/39). year academic ments for tourism, such as views of urban archi urban of views as such tourism, for ments B associates included included associates T also the founder of cessive poster competitions were held under the of the the of Wankowicz, reportedly received thehighestroyalty in to to the earliest history of the (1935/36), a were intended to persuade readers that commer Aleksander Sołtan, Papers Rolling —Społem, after1935, present less known designs, and above all those The advertising sloganSugarStrengthens became very culture by Edmund Bartłomiejczyk, as well aselegant studio in 1934/35) and assistants: assistants: 1934/35)in and studio he range of student assignments was varied, in varied, was assignments student of range he ocianowski and and ocianowski tion fordesignsprintedon boxes ofmatches. Among in that branch of graphic art. graphic of branch that in at annual exhibitions, as well as the increasing increasing the as well as exhibitions, atannual with the simplest of tasks and gradually intro the world fortwo words (5000 pre-war złoty). In 1931 presented thedesignsinsubsequentissues, inviting first first a poster with hisslogan, while the weekly Światowid

The attitude to advertising changed profoundly B number of commercial, film and theatre adver The exhibition includes both tourism or sports popular inPoland inthe1930s. Itsauthor, Melchior S artłomiejczyk (from 1926) taught “graphic de 1926) “graphic taught (from artłomiejczyk produced by in artists their student days. ( W the entriessubmitted by leadingPolish designers Reklama tudio of of tudio sign” classes at the at the classes sign” ojciech ojciech I As early as in 1919, the first specialist mag Rze n Polish academic unitartistic specializing s and delicate drawings by Tadeusz Gronowski. e t u t i t E czy dward dward [

G r o f J exhibition was heldinZachęta in1932. Piękne Advertising] was published, and the Room no.12 raphic raphic astrzębowski (in 1925) (in and astrzębowski Antoni Wajwód, box ofmatches, 1937, A C Advertising and t r cial designs were works of art. M zesław zesław P printed matter, private collection B patronage of the institution. anteuffel (1936–1938), anteuffel [beautiful things] periodical, periodical, things] [beautiful G artłomiejczyk used to start start to used artłomiejczyk W p o r r D a acław acław The economic upturn in the esign was established, the the established, was esign A G A c i h p T H he impressive number of of number impressive he W d n e considered advertise considered e D B orowczyk (both in the the in (both orowczyk arsaw arsaw a e . s Our intention was to B tecture, the easiest. easiest. the tecture, M i O P g School. Sug artłomiejczyk was was artłomiejczyk Photo by PiotrJamski n n his initiative suc initiative his n rogramme rogramme achan (host of the the of (host achan A B We have selected artłomiejczyk’s artłomiejczyk’s i t r ar Art” series, pub S s T chool. chool. t adeusz adeusz s s trenghtns C After it was e l c r i Art Everywhere E C B ( I dmund dmund ouncil ouncil n 1930,n ohdan ohdan KAGR L ipski ipski

ba JG ),

) ; ------Advertising World War the Second during of FineArts The Academy of the Academy ofFine Arts —Jadwiga Simon-Pietkiewicz, who madeanumber ofportraits W Warsaw uprising. It’s co-author, Mieczysław Jurgielewicz, a.k.a. “Narbutt”, was anactive painted in in painted Polaków w hitlerowskich więzieniach iobozach koncentracyjnych 1939–1945, Warsaw, 1975, p. 75) group there, whose productions were documented in extant photographs. ( the relatively good living conditions guaranteed by the provisions of interna Chief Commandof theHome Army. Histeamconsistingof, amongstothers, Stanisław to capture that which liesinside”. (Janina Jaworska, Nie wszystek umrę. Twórczość plastyczna ing Among theprisonersof women’s concentration camp inRavensbrück were graduates arsaw studio became one of the locations of the underground and university tional conventions. conventions. tional series of drawings by by drawings of series Rafałowski, fought in the count ofeverything thattookplacethere. I wanted toshow what humansare capable of, newspapers, as well aspainting sloganson the walls anddocumenting events onthe who was senttothecampfora brief period. Another prisonerinRavensbrück was Maria September Bronisław part in the

of otherprisonersas well assketches depicting lifeinthecamp, and Wiktoria Goryńska, Room no. 13 I Graduates of the A “Miedza” Tomaszewski, LeonMichalski, Ludwik Gardowski, and Andrzej Jakimowicz, the the of designed for the uprising papers, such as the poster calling people or the drawings by of artists. artists. of Neubrandenburg, shemadec. t was easier for prisoners held in in held prisoners for easier was t f o centration camps, and ghettos. ghettos. and camps, centration still created art despite extremely harsh living conditions: in prisons, con prisons, in conditions: living harsh extremely despite art created still figure intheunderground movement underGermanoccupation, andactedashead and sent to camps in the the in camps to sent and Hiszpańska. Sentto work inthemostdeadly labour unitsas well asanarmsfactory in large number of the the of number large the often became important leaders ( The war brought about great losses both among the faculty and students first days of the war in his small Self-portr days small war his the in first ait of

of the graphic designsectionattheBureau forInformationandPropaganda ofthe B was responsible forpreparing posters, emblems, illustrations fortheunderground e h t ing children from the the from children ing reminiscent of the ohdan Call to Call Arms with theHome Army! isoneofthe best known postersconcerningthe H

A Home Edmund Burke, Mieczysław Jurgielewicz, to Call Arms with theHome Army! , 1944 was painted in 1941, a few months before his tragic death, has an air of of air an has death, tragic his before 1941, in months painted was few a Mieczysław great many andstudents graduates of the o A m Michalski provide unique evidencehistoric from the c L e a viv, in viv,in A e d T Army! r C W . W m m A Urbanowicz, ampaign. y arsaw y ojciech ojciech mong those who did not stop working was was working stop not did who those mong

commissioned them to make posters, leaflets and illustrations f o D F ecember 1939. ecember , designed by e n i W Jurgielewicz, A arsaw A Uprising. t r Maria poster (reprint), Library ofthe Academy ofFine Arts inKrakow n interesting example of artistic activity in in activity artistic of example interesting n Linke perfectly captured the mood of horror during the The rough drawings from the series called Ca B s ohdan ohdan . A pen andinkonpaper, MuseumofIndependence in Warsaw P ll toll Ar cademy teachers and students were taken prisoner, prisoner, taken were students and teachers cademy R rofessional work was put on hold for the majority majority the for hold on put was work rofessional September W oman A T Hiszpańska in the women’s concentration camp in 400 drawings which shedescribedas “documents, anac- arsaw ghetto, probably made by by made probably ghetto, arsaw cademy imprisoned in hird hird The Mieczysław T . T ! ms U he last last he Michał O R B rbanowicz, which includes studies of heads, heads, of studies includes which rbanowicz, widzki and T eich and and eich e r u he examples include sketches of the starv the of sketches include examples he poster designed by S O C a tanisław flags ( flags u ampaign.

r o f B Self-portrait ylina, ylina, I Jurgielewicz and r o f n as well as almost abstract nudes. S POW oviet oviet Adam A M Ostoja- Eugeniusz As soldiers of the n o i t camps for officers) owing to to owing officers) for camps Oflag U

and The and W Siemaszko, ran a theatrical a Maria Hiszpańska, Work, 1944, nion. nion. d n arsaw P by by Chrostowski). p o r Adam VII T T Arct, and A G A A adeusz adeusz he majority of them them of majority he

lfons lfons A Firs A Edmund d n in artists meetings. meetings. artists cademy, including W Siemaszko during W a streets of Warsaw. arsaw

Murnau, includ f o itold itold t of September

R e h t K Kan H P avensbrück. avensbrück. arny, whose arny,whose melancholy. melancholy. ruszkowski ruszkowski o O leksander Aleksander C m Burke. flag is the the is flag T e L f e i h ał They took A o Ar ewinson, ewinson, Uprising. r by L C m o y in in ms A M M they JK It eon eon -

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June 6th (Wednesday), 17.00 12.15 (Education Department) yard, Polish Telegraphic Agency news- a maximum of 25 participants (for kin- Meeting with the curator Maryla meeting with curators Maryla price: 18 zł (family ticket) reel, 1935 dergartens and primary schools), or Sitkowska from the Zachęta for Teach- Sitkowska, Agnieszka Szewczyk and June 26th (Tuesday), 12.15 Transatlantic, dir. William K. Howard, groups up to a maximum of 30 partici- ers series Jola Gola Look/See. Contemporary Art and Seniors USA, 1931, 78 min pants (for junior high schools and high plan of meeting in the Main Hall meeting in the Main Hall moderation: Alicja Korpysz schools) admission free admission included in entrance fee meeting in the main hall July 17th (Tuesday), 22 approx. time: 1,5 hours by sign-up only: 22 556 96 42 or admission free Gdynia Port, Polish Telegraphic Agency e-mail: [email protected] 14 by sign-up only: 22 556 96 96 or newsreel, 1938 Guided tours are available in Polish, Eng- War and Avant-garde e-mail: [email protected] Onboard of the M/S “Piłsudski”, Polish lish, German and French the exhibition June 10th (Sunday), 12.15 A tour of a section of the exhibition with Telegraphic Agency newsreel, 1935 groups of 1–10 people — 150 zł + 0 zl for Meeting with the curator Maryla Joanna M. Sosnowska FILM PROGRAMME The Big Broadcast of 1938, dir. Mitchell entrance tickets Sitkowska meeting in the Main Hall Leisen, USA, 1938, 91 min groups of more than 10 people — 150 zł meeting in the Main Hall admission included in entrance fee Open-air cinema EUFEMIA + entrance tickets (10 people admitted admission included in entrance fee Every Tuesday in June — film screenings July 24th (Tuesday), 22 free) groups up to a maximum of 16 in the GARDEN of Klubojadalnia Eufemia From the Seaside, Polish Film Chronicle 30 people June 14th (Thursday), 18 The Polish Pavilion in Paris 1925 (in the building of the Rectorate of the newsreel, 1947 Sztuka wszędzie / Art Everywhere A tour of a section of the exhibition with Academy of Fine Arts, 5 Krakowskie Farewell to a Ship, Polish Film Chronicle Anna Zdzieborska: a.zdzieborska@zache- Benjamin Cope, Ph.D. Iwona Luba Przedmieście Street), entrance from newsreel, 1971 ta.art.pl, tel. 22 556 96 42 (workshops for Meeting in English devoted to the role of meeting in the Main Hall Wacława Niżyńskiego Ship of Fools, dir. Stanley Kramer, USA, children and guided tours) the Warsaw Academy of Fine Arts in the admission included admission free 1965, 149 min Zofia Dubowska: z.dubowska@zacheta shaping of Modernist culture in entrance fee .art.pl, tel. 22 556 96 71 (workshops for meeting in the Main Hall July 3rd (Tuesday), 22 July 31st (Tuesday), 22 children) admission free 18 The Polish Pavilion at the Paris A Carnival Cruise, Polish Film Chronicle Wojciech Jastrzębowski’s Exposition, Polish Telegraphic Agency newsreel, Poland, 1976 Each Sunday at 12.15, you may also visit June 15th (Friday), 12.15 Composition of Planes and Solids newsreel, 1937 Stefan and Batory, documentary by Ser- the exhibition with a guide Look/See. Contemporary Art and Seniors A tour of a section of the exhibition with The Polish Pavilion at the 1939 World’s giusz Sprudin, Poland, 1969, 9 min meeting in the Main Hall moderation: Barbara Dąbrowska and Joanna Kania Fair in New York, archive footage Chance Meeting on the Atlantic, dir. price included in the gallery entrance

Partners oftheexhibition Maria Kosińska meeting in the Main Hall The Brotherhood of St. Luke Łukaszowcy Jerzy Kawalerowicz, Poland, 1980, 105 ticket meeting in the Main Hall admission included in entrance fee N.Y. ’39, dir. Michał Dudziewicz, Poland, min admission free 2005, 48 min For more information on the pro- by sign-up only: 22 556 96 96 or Family Workshops WORKSHOPS AND GUIDED TOURS gramme and detailed listing of work- e-mail: [email protected] 12.30 (children aged 4–6 years) OCeAN LINERS – FILM SERIES Workshops for Children and Youth shop themes please visit www.zacheta 15 (children aged 7–10 years) July 10th (Tuesday), 22 .art.pl section: Education June 17th (Sunday) 12–20 17 (children aged 10+ years) New Polish Motor Ship, Polish Telegraph- The workshops take place on Tuesdays,

Day with the Academy of Fine Arts in meeting in the Main Hall ic Agency newsreel, 1939 Wednesdays, and Fridays at 12 is theHonoraryPatron Bronisław Komorowski Warsaw by sign-up only: phone 22 556 96 71 M/S “Batory” in the Monfalcone Ship- admission: 150 zł for groups up to the RepublicofPoland Joanna Sosnowska (JS),Aleksandra Frąckiewicz (AF), PiotrKibort(PK), Krzysztof Kościuczuk, PiotrSzymor Joanna Kordjak-Piotrowska (JK-P), Maria GórskaandDanielZieliński © Zachęta NationalGallery of Art Zachęta’s ExhibitionDepartment Zachęta’s EducationDepartment Szewczyk andUrszulaGotowiec, Academy ofFine Arts in Warsaw Academy ofFine Arts in Warsaw Director: Agnieszka Morawińska (Julia Leopold, Krystyna Sielska, coordination ofthepublication: Agnieszka Szewczyk (AS), Anna exhibition concept andcurator: Joanna Kordjak-Piotrowska and Jola Gola(JG), Joanna Kania(JK), Dubowska-Grynberg, Stanisław Zachęta NationalGallery of Art Zachęta NationalGallery of Art The exhibition isaccompanied and the Authors, Warsaw 2012 illustrated catalogue edited by Art Everewhere. Academy ofFine Warsaw, pl. Małachowskiego 3 team: Jola Gola, Joanna Kania, by acomprehensive, lavishly- Ewa Skolimowska, Agnieszka National Museumin Warsaw Dorota Kozielska (DK), Iwona Rector: Prof Ksawery Piwocki Director: Hanna Wróblewska Luba (IL), Anna Rudzka(AR), Jola Gola, Maryla Sitkowska, 5th June –26th August 2012 co-operation from Zachęta: Joanna Kordjak-Piotrowska Wojciech Włodarczyk (WW) multimedia presentations: of theexhibition Szacho-Głuchowicz Welbel, Anna Zdzieborska) exhibition prepared by the Arts in Warsaw 1904–1944 Katarzyna Kołodziej and (Joanna Kinowska, Zofia exhibition organized in Maryla Sitkowska (MS), Małgorzata Jurkiewicz, Agnieszka Szewczyk Dorota Karaszewska authors ofthetexts: President of Marek Janczewski) collaboration with exhibition design: Maryla Sitkowska layout execution: Maciej Konopka Maciej Sikorzak Ewa Pawłowska Jolanta Pieńkos graphic design: Argraf, Warsaw Marta Ignerska visual identity: of theZachęta produced by: exhibition translation: organizers: Piotr Kopik printed by edited by: Sponsors folder editing: (AS-G),