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Mieczysław Treter (1883–1943): Precursor of Polish Museology

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Mieczysław Treter (1883–1943): Precursor of Polish Museology Muz., 2019(60): 268-279 Rocznik, eISSN 2391-4815 received – 06.2019 reviewed – 07.2019 accepted – 08.2019 DOI: 10.5604/01.3001.0013.5008 MIECZYSŁAW TRETER (1883–1943): PRECURSOR OF POLISH MUSEOLOGY Małgorzata Wawrzak University of Nicolaus Copernicus in Torun Abstract: Mieczysław Treter is by no means an ordinary he became involved in the activity of the social movement individual: an art historian, aesthetician, museum for the care of Polish monuments throughout the former practitioner and theoretician-museologist, an individual Russian Empire. In 1918, he returned to Lvov, became of many professions, lecturer, journal editor, member of member of the national Eastern Galicia Conservation numerous organizations, propagator of Polish art abroad, Circle, and retook the position of the Curator at the Prince manager, exhibition organizer. In the interwar period one Lubomirski Museum, to finally become its Director. On of the most influential critics and art theoreticians, among 4 February 1922, Mieczysław Treter was appointed Director the museum circles he was mainly known as the author of of the State Art Collections, the position he retained until the recently reissued 1917 publication calledContemporary 1924. In 1926, he became Director of the Society for the Museums. Museological Study. Beginnings, Types, Essence, Promotion of Polish Art Abroad, whose main task was to and Organization of Museums. Public Museum Collections promote works of Polish artists in Poland and abroad. He in Poland and Their Future Development. passed away in Warsaw on 25 October 1943. Born on 2 August 1883 in Lvov, in 1904 Mieczysław Henryk Systematizing the theoretical knowledge and the report Treter started working with the Prince Lubomirski Museum on the existing museums in the country deprived of its as the scholarship holder of the Lvov Ossolineum. In 1910, statehood in the book Contemporary Museums created he became Curator at the Museum, performing this function a departure point for its Author, who following Poland’s until the outbreak of WW I. He participated in the First regaining independence worked out the organization of state Congress of Polish Museologists, held in Cracow on 4 and collections. Treter’s proposals were to regulate the position of 5 April 1914. During WW I, he was in Kharkov and Crimea, Polish museum institutions complicated due to the partition and it was there that he wrote his most important study period, for them, while rivaling foreign museums, to become Contemporary Museums. In 1917, having moved to Kiev elements boosting the young state’s prestige. Keywords: Mieczysław Treter (1883–1943), museologist, museum, classification of collections, museum policy. Mieczysław Treter is by no means an ordinary individual: and Organization of Museums. Public Museum Collections in an art historian, aesthetician, museum practitioner and Poland and Their Future Development.2 theoretician-museologist, individual of many professions, Born on 2 August 1882 in Lvov,3 it was there that lecturer, journal editor, member of numerous organizations, Mieczysław Henryk Treter graduated from the Lvov propagator of Polish art abroad, manager, exhibition organizer. Musical Institute and Philological Department of the In the interwar period one of the most influential critics and University of Lvov where he studied philosophy under art theoreticians, this being reminded by the publication of Kazimierz Twardowski, creator of the Lvov-Warsaw school Diana Wasilewska that has been released this year.1 Among of philosophy, as well as history of art under Jan Bołoz the museum circles he was mainly known as the author of Antoniewicz, supervisor of Treter’s doctoral dissertation the recently reissued 1917 publication called Contemporary defended in 1910.4 The education, the first teachers, and Museums. Museological Study. Beginnings, Types, Essence, the cultural-artistic circles of the ‘city of museums’, as he 266 MUZEALNICTWO 60 polski słownik muzealników used to call Lvov,5 with which he was connected for almost 40 years, undoubtedly had some impact on his later career. Treter first came across the institution of museum already in 1904 when he started working for the Museum of Prince Lubomirski as a grant holder of the Lvov Ossolineum.6 In 1909, he published a guide to its collections, worked out on the grounds of the long-standing inventorying conducted by the Museum Curator of the time Edward Pawłowicz and his own, signalling the importance of the institution as a major cultural centre of the city.7 In 1910, he became Curator of the Prince Lubomirski Museum, and performed the function until the outbreak of WW I.8 Treter attended the First Congress of Polish Museologists, held in Cracow on 4–5 April 1914, participated by representatives of the major museums 1. Mieczysław from the territories of the three partitions.9 Furthermore, he Treter, photo travelled a lot, as of 1907 frequently attending the Venice from the Plaque 10 11 commemorating Biennale, also writing reports on exhibitions in Rome; Kazimierz in July 1913, he ‘personally’ visited the Polish National Twardowski of Museum in Rapperswil.12 12 Febr. 1904, by During WW I, he was in Kharkov and Crimea, and it was courtesy of the Digital Archives of there that he wrote his most important study Contemporary Combined Libraries in Museums. In 1917, having moved to Kiev, he became in- Warsaw volved in the activity of the social movement for the care of Polish monuments throughout the former Russian Empire. In 1917–18, he served as Deputy President of the Polish Society for the Care of Monuments in Ruthenia (Kiev), involved in an animated patriotic and cultural inventorying activity.13 He also worked as the artistic manager of the illustrated periodi- cal ‘Muzeum Polskie’ dedicated to the preservation of Polish museums and collections in the territory of Russia, published in Kiev.14 Beginning from October 1917, he ran the course titledProblems and Methods of Contemporary Aesthetics at the Polish University College, and it was there that he par- ticipated in the group of the founders of the Polish Scientific Society;15 furthermore, he lectured in history of art at the 2. Konrad Polish School of Fine Arts in Kiev.16 Krzyżanowski, Portrait of In 1918, upon his return to Lvov, he became member Mieczysław Treter, of the national Eastern Galicia Conservation Circle, and after: K. Malinowski, ran courses in 19th- and 20th- century history of art at Lvov Prekursorzy muzealnictwa Polytechnic; furthermore, he retook the position of the [Museology 17 Curator at the Prince Lubomirski Museum, to finally be- Precursors], Poznań come its Director.18 As recalled by Adam Fischer, former 1970, p. 105 Deputy Curator of the Lvov Ossoliński Library, it was to be restored to its former excellence, while its image was to be the feat accomplished through meticulous work of Curator As of 1918, Mieczysław Treter was member of the Council Mieczysław Treter.19 The archivist of that institution, in turn, for Fine Arts in Warsaw, an advisory body to the Ministry of Jerzy Koller reported that although the collections in their Art and Culture,22 to accept in January 1919 the proposal majority had survived, the condition of the museum after of the Minister of Art and Culture Zenon Przesmycki to the war was disastrous: Upon his wanderings in Russia, the work out the outline of the state organization of museum- current Museum’s Curator Dr Mieczysław Treter submitted related questions.23 When attending the 1921 Congress of an exhaustive memorandum to the authorities, discussing in Museologists in Poznan, he was elected deputy President of detail shortages and drawbacks in the so-far interior and col- the Historical and Artistic Association of Polish Museums, lection conservation.20 When Treter single-handedly played upon which he put forth the proposal to establish the Polish the role of the Board, he was authorized to run redecora- Gallery of Contemporary Art, essential for the research tion works and preservation of the collection. According to into Polish art and for its promotion among our people and Koller, what had suffered the least was the painting gallery; foreigners.24 During the first Session of the Council for Fine the Curator arranged it in compliance with the ‘scientific’ Arts on 7 May 1921, he was elected representative of the requirements, having installed devices controlling tempera- Museology Section. On 4 February 1922, Treter was appointed ture as well as a fire alarm; he also organized new rooms: Director of the State Collections of Art (PZS), the position storerooms, conservation laboratory, darkroom, and a ba- he held until 1924.25 PZS was established at the Ministry sic workshop.21 of Public Works (to be later transferred into the structure www.muzealnictworocznik.com MUZEALNICTWO 60 267 of the Ministry of Religious Denominations and Public a museum of the War that was raged proposed in November Enlightenment), mainly with the concept of taking care of the 1914 in ‘Kurier Warszawaski’ by Jan B. The author of that monuments recovered from Russia, Ukraine, and Austria in article encouraged the collecting of all the objects related to mind, as well as their inventorying, conservation, and dividing the War in order to preserve the memory of one of the most the collections among the Stately Buildings of the Polish powerful breakthroughs in history. The proposed Museum of Republic (GRR).26 What is more, PZS was also the organization War in Warsaw was, in the opinion of its instigators, possible which received donations
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