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Academy of Fine Arts in Warsaw 1904-1944

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Academy of Fine Arts in Warsaw 1904-1944 FA o A ART EVERYWHERE IS THE FIRST EXHIBITION THAT DISPLAYS THE PHENOMENON OF INTERPENETRATION OF ART AND LIFE DURING THE SECOND POLISH REPUBLIC IN THIS BROAD SENSE. THE AIM OF THIS EXHIBITION IS ALSO TO ASK WHETH- ER AND HOW TO RESTORE A HEALTHY RELATIONSHIP BETWEEN THE WORLD OF ART AND INDUSTRIAL PRODUCTION. THEN, AS IN MORE RECENT TIMES, THERE WAS WIDESPREAD CRITICISM OF THE QUALITY OF THE ENVIRONMENT IN WHICH WE GROW UP. THAT WOULD HAVE BEEN REMEDIED BY PRODUCTION BASED ON GOOD, ORIGINAL, NATIVE PROJECTS (IN PLACE OF IMPORTED TRASH OR ENTRENCHED, EVEN NINETEENTH-CENTURY DESIGNS, ON WHICH PRODUC- TION OF EVERYDAY OBJECTS IS OFTEN STILL BASED — IN THIS DAY AND AGE!). SOME EXAMPLES OF HIGH MATERIAL CULTURE, SUCH AS THE BENELUX AND SCANDINAVIAN COUNTRIES, NOT ONLY PROVE THAT “ART AND LIFE” MAY CO- in Warsaw EXIST, BUT ALSO TESTIFY TO SOME TANGIBLE EFFECTS OF SUCH INTEGRATION, 1904-1944 THE FIRST OF WHICH IS RAISING THE LEVEL OF CONSUMER DEMANDS TOWARDS THE MARKET OFFER. A PLACE WHERE ART, AS A RULE, WAS NOT DIVIDED INTO “PURE” AND “APPLIED” WAS WARSAW SCHOOL OF FINE ART S , FOUNDED IN 1904 AS A PRIVATE SCHOOL, AND FROM 1923, ADMINISTERED BY THE REBORN STATE — THE DIRECT PREDECESSOR OF PRESENT-DAY ACADEMY. THE FOUNDING STATUTES AND THE FIRST CURRIC- ULA LAID CONSIDERABLE EMPHASIS ON THE SO-CALLED APPLIED ARTS, WHOSE ART EVERYWHEREE ART TEACHING WAS TO BE ACCOMPANIED BY IMPLEMENTATION OF DESIGNS INTO PRODUCTION. THAT MADE THE ACADEMIC SCHOOL A KIND OF EXPERIMENTAL IN- STITUTE OR “SHOWROOM” — SOMETHING UNIQUE IN ARTS HIGHER EDUCATION AT THE TIME, WITH THE EXCEPTION OF THE GERMAN BA UH A U S , TO WHICH OUR SCHOOL IS OFTEN QUITE RIGHTLY COMPARED. THE FIRST PUBLIC PRESENTATION Academy of Fine Arts OF THE SCHOOL, IMMEDIATELY ON THE GLOBAL SCENE, WAS THE INTERN A TION A L , published by Gebethner & Wolff, Warsaw, 1938, Jan Straus collection. Photo by by Photo collection. Straus Jan 1938, Warsaw, Wolff, & Gebethner by published , EXPO S ITION OF MODERN INDU S TRI A L A ND DECOR A TIVE ART S IN PARIS, 1925. A DIRECT RESULT 5th June – 26th August 2012 5th June – 26th August , 1936, poster, National Museum in Warsaw Warsaw National Museum in poster, 1936, , OF THE SCHOOL’S SUCCESS THERE AND THE PRIZES IT WON WAS THE FOUNDING , poster, 1938, National Museum in Warsaw National Museum in 1938, poster, , OF ŁA D ARTI S T S CO-OPER A TIVE , WHICH FOR MANY DECADES BECAME SYNONYMOUS 1 WITH GOOD TASTE AND QUALITY OF POLISH DESIGN. SIMILARLY, RYT Ass OCI A TION OF GR A PHIC ARTI S T S AND Ass OCI A TION OF GR A PHIC DE S I G NER S WERE SET UP AT TWO ACA- DEMIC STUDIOS OF GRAPHIC ART, THE PREDECESSORS OF “POLISH SCHOOLS” OF GRAPHIC ART, ILLUSTRATION AND POSTER ART. IN THE STUDIOS OF PAINTING AND SCULPTURE, PURELY THEORETICAL ISSUES MINGLED WITH COMPETITION , 1910, poster, Museum of the Academy of Fine Arts in Warsaw. Photo by Wojciech Holnicki-Szulc Wojciech by Photo Warsaw. Arts in of Fine Academy Museum of the poster, 1910, , , published by Wydawnictwo J. Przeworskiego, Warsaw, 1937, Jan Straus collection. Photo by Wojciech Holnicki-Szulc Wojciech by Photo collection. Straus Jan 1937, Warsaw, Przeworskiego, J. Wydawnictwo by published , ASSIGNMENTS AND SPECIFIC ORDERS, WHETHER FROM THE STATE OR PRIVATE A a a . kotki dwa [lullaby verse] [lullaby kotki dwa . A a . , poster, National Museum in Poznań National Museum in Poznań poster, , INVESTORS. , 1933, poster, National Museum in Warsaw National Museum in poster, 1933, , PROJECTS AND WORKS THAT HAVE ALWAYS BEEN PRESENT IN THE SPACE OF THE CITY FEATURE PROMINENTLY AMONG THE EXHIBITS, SUCH AS THE AIR M EN , 1925, wood, National Museum in Warsaw National Museum in wood, 1925, , MONU M ENT ; OR THOSE THAT ARE AS TOPICAL AS THE CONSTRUCTION OF THE TE M PLE OF DIVINE PROVIDENCE . THE PICTURE IS COMPLETE WITH BROADLY CONCEIVED , 1922 (reconstruction, 1975), wood, metal, Muzeum Sztuki Łódź metal, wood, 1975), 1922 (reconstruction, , , 1930, woodcut on tissue paper, National Museum in Warsaw National Museum in on tissue paper, woodcut 1930, , ADVERTISING (POSTERS, LEAFLETS, SHOP SIGNS AND SHOP WINDOWS’ DRESS- ING) AND BOOK GRAPHICS, REACHING THE CONSUMERS FROM THEIR EARLIEST weekly, no. 6, 1932, private collection. Photo: Piotr Rypson archive collection. private 1932, 6, no. weekly, (I, II, III), 1906, patinated bronze, National Museum in Warsaw. Photo by Teresa Żółtowska-Huszcza Teresa by Photo Warsaw. National Museum in bronze, patinated 1906, III), II, (I, CHILDHOOD. Na podbój świata [Westward Ho!] Na podbój świata [Westward ART EVERYWHERE HAS BEEN A PHRASE THAT IS STILL FULL OF CONTENT. TODAY, Warsaw 30 August 1936. Aero Club of the Republic Poland Aero 1936. August 30 Warsaw , The Maritime and Colonial League The JUST AS DECADES AGO, IT IS IN FACT A CRY FOR THE CULTURE OF EVERYDAY LIFE , 1935, patinated plaster, courtesy of the artist’s family. Photo by Wojciech Holnicki-Szulc Wojciech by Photo family. courtesy of the artist’s patinated plaster, 1935, , — IN THE IMMEDIATE SURROUNDINGS, THE OBJECTS OF COMMON USE, IN THE , c. 1931, stoneware, Museum of the Academy of Fine Arts in Warsaw. Photo by Wojciech Holnicki-Szulc Wojciech by Photo Warsaw. Arts in of Fine Academy Museum of the stoneware, 1931, c. , Panorama 7 dni Panorama Portrait of a Revolutionary Portrait PUBLIC AND PRIVATE SPACES. ARTISTS CARE FOR THAT, BUT SO DO ORDINARY American Roller Skating Rink. Luxenburg Gallery Luxenburg American Roller Skating Rink. Pregnant Women Pregnant Self-portrait with Telephone with Self-portrait Swimmer Nativity Shrine: Angel with a Violin with a Angel Nativity Shrine: PEOPLE, VIEWERS AND CONSUMERS OF THEIR ART — AS EVIDENCED BY THE Rooster Academy of Fine Arts Ball. We Paint Everyone Paint We Arts Ball. of Fine Academy Higher Up!” to Pull Poland and Pull, Pull, “… OZN (Camp of National Unity) Bennett Gordon NATURAL INCLINATION OF EACH OF US TO ARRANGING AND DECORATING OUR SURROUNDINGS. , Grand Salon. Photo: Museum of the City Gdynia Salon. Grand , Batory MA RYL A SITKOW S K A First line from left line from First Dunikowski, Xawery Trojanowski, Edward Szczuka, Mieczysław Wajwód, Antoni Goryńska, Wiktoria Wajwód, Antoni paper, ozalid, pen and ink, crayons, 1924, 1:50, elevation back 1925, Arts in Paris at the International Exposition of Modern Industrial and Decorative Pavilion Polish Czajkowski, Józef Holnicki-Szulc Wojciech Fot. Warsaw. Arts in of Fine Academy Museum of the Szczepkowski, Jan Parol Radosław by Photo Warsaw. Arts in of Fine Academy Museum of the pine, 1930, Pad, for a Bachelor armchair Knothe, Czesław left Second line from Rudolf Krzywiec, Korta Michał by Photo Warsaw. National Museum in larch, 1938–1940, c. set, the patio furniture from table Wincze, Władysław Szlekys, Olgierd Korta Michał by Photo Warsaw. National Museum in larch, 1938–1940, c. set, the patio furniture from armchair Wincze, Władysław Szlekys, Olgierd Szelburg-Zarembina, design: Ewa graphic Piotrowski, Tadeusz Holnicki-Szulc Wojciech of cover Leon Chejfec, left line from Third Surałło-Gajduczeni, Bolesław M/S Warsaw National Museum in nickel, 1929, 1-złoty coin, Kotarbiński, Mieczysław Wajwód, Antoni Masiak, Franciszek Warsaw Arts in of Fine Academy of Photo: archive 1914. view, side building, Arts of Fine School Warsaw Holnicki-Szulc Wojciech by Photo Warsaw. Arts in of Fine Academy Museum of the glaze, copper light stoneware, 1930s, vase, Kotarbińska, Julia Charles Kingsley, cover: MEWA, THE FOUNDERS OF THE ACADEMIC ART SCHOOL IN WARSAW INCLUDED KAZIMIERZ STABROWSKI, A PAINTER, DR TEODOR DUNIN, COUNT ADAM Krasiński AND COUNT MAURYCY ZAMOYSKI, THE ENTAILER. THEY ESTABLISHED AN ORGANIZATION COMMITTEE TO DRAW UP THE STATUTE (“ACT” IN RUSSIAN) OF THE SCHOOL, APPROVED BY THE TSARIST AUTHORITIES IN 1902. THE SCHOOL OPENED AT WIERZBOWA STREET NO. 8 ON 17TH MARCH 1904. ITS PEDAGOGICAL COUNCIL, CHAIRED BY KAZIMIERZ STABROWSKI, CONSISTED OF THE FIRST PROFESSORS: KONRAD KRZYżANOWSKI, FERDYNAND RUSZCZYC, KAROL TICHY AND XAWERY DUNIKOWSKI, SOON JOINED BY TOMASZ PAJZDERSKI AND EDWARD TROJANOWSKI. 1944 STUDENTS WERE ADMITTED TO A GENERAL PROGRAMME OF STUDY. THEN THE PEDAGOGICAL COUNCIL REFERRED THEM TO SPECIALIST STUDIOS. EVERY MONTH, EACH STUDIO HELD WORKSHOPS AND EXHIBITED WORKS. THE OPEN AIR WORK- – SHOPS HELD BY KONRAD KRZYżANOWSKI CONTRIBUTED CONSIDERABLY TO THE DEVELOPMENT OF THE STUDENTS’ INTEREST IN CREATING NATURE STUDIES. WA R sa W SCHOOL OF FINE ART S WAS PLAGUED BY A SHORTAGE OF FUNDS. THE TUTELARY COMMITTEE MEMBERS DID NOT MEET THEIR OBLIGATIONS AND THE MEMBERSHIP FEES DECLARED IN ACCORDANCE WITH THE STATUTE WERE PAID IRREGULAR- LY. THE DISPUTE BETWEEN KAZIMIERZ STABROWSKI, THE PRINCIPAL, AND THE TUTELARY COMMITTEE LED TO HIS RESIG- NATION ON 11 MARCH 1909. HE WAS REPLACED BY STanisłaW LENTZ. NEW TEACHING STAFF WAS EMPLOYED, INCLUDING TADEUSZ BREYER. FROM THE ACADEMIC YEAR 1909/10 ONWARDS THE SCHOOL WAS SUPPORTED BY A SUBSIDY FROM THE MUNICIPAL COUNCIL OF WARSAW. WA R sa W SCHOOL OF FINE ART S DID NOT OWN A BUILDING AND ITS STUDIOS WERE LOCATED IN A NUMBER OF PLACES. EFFORTS TO SECURE AN APPROPRIATE BUILDING HAD BEEN ONGOING SINCE 1905. A YEAR LATER, THE SCHOOL WAS PERMITTED TO LEASE A PLOT IN NADBRZEżNA STREET (SOON RENAMED THE KOśCIUSZKO EMBANKMENT). BETWEEN 1912 AND 1914, RTS 1904 RTS EUGENIA Kierbedź FOUNDED THE NEW BUILDING DESIGNED BY ALFONS GRAVIER, AND SHE DONATED IT OFFICIALLY TO THE SCHOOL. WHEN THE FIRST WORLD WAR BROKE OUT, THE RUSSIAN AUTHORITIES EARMARKED THE BUILDING FOR A HOSPI- A TAL. WHEN THE RUSSIAN TROOPS WITHDREW IN 1915, STanisłaW LUBOMIRSKI, THE TUTELARY COMMITTEE PRESIDENT, MANAGED TO RECEIVE PERMISSION TO REOPEN THE SCHOOL. THE CLASSES STARTED ON 16TH NOVEMBER 1915. WA R sa W SCHOOL OF FINE ART S WAS CLOSED ON 1ST JULY 1920. FRANCISZEK LILPOP, THE LAST TUTELARY COMMITTEE PRESI- DENT, HANDED THE BUILDING OVER TO THE POLISH STATE AUTHORITIES UPON THE CONSENT OF EUGENIA KIERBEDZIOWA.
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