DOCSLIB.ORG

The Art of Young Poland Stained

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Young Poland Stained Krakow as a tourist centre is usually associated with im- National Museum portant historic monuments, connected with the his- in Krakow tory of the city and Poland. Wawel, the Barbican and St. Florian’s Gate, the Main Market Square with St.Mary’s Main Building Church and the Cloth Hall, as well as Collegium Maius al. 3 Maja 1 of the Jagiellonian University, are the main tourist at- tractions. Opening hours Krakow also features numerous museums with rich, often Tuesday – Saturday: 10.00 a.m.–6.00 p.m. little-known collections. Tourists, both those who have Sunday: 10.00 a.m.–4.00 p.m. Monday: closed already visited Krakow before and those who haven’t, Free admission to permanent exhibitions are also invited to get to know the museum collections. KRAKOW MUSEUMS’ ROUTES on Sundays. the art of Young Poland, stained glass stained Poland, Young of art the Many collections may suit the tastes of visitors with spe- www.muzeum.krakow.pl cial interests, be attractive to hobbyists or people inter- ested in the history of a particular age. The Main Building was built with pauses in 1934–1989, In the present publication we would like to invite you to vis- according to the project of Czesław Boratyński, Edward it the museums whose collections present the colourful Kreisler and Bolesław Schmidt. It houses three perma- th age of fin de siècle rooted in Krakow history, the Young nent exhibitions of the Museum. The 20 Century Polish Art Gallery is the largest exposition of its kind in Poland, Poland period art of Wyspiański and Mehoffer, the ar- where one can get to know the chosen trends of Polish chitecture of Stryjeński and Mączyński, and the history art of the last and the current cen- of cabaret in “Jama Michalika”. tury, from Young Poland to the present times. The Gallery of Craftsman- ship is the greatest permanent exhibi- tion of its kind in Poland. The collec- tion presented here the art of Young Poland, stained glass shows the richness of Polish and Western-Eu- National Museum in Krakow ropean craftsmanship, from the early Middle Ages to the Main Building 3 times of the Secession. It is The Wyspiański Museum supplemented by an impres- in the Szołayski House 7 sive collection of Judaica. The Mehoffer House 10 The Arms and Colours in Stained Glass Museum Poland Gallery presents (S.G. Żeleński Krakow Stained Glass Workshop) 12 some of the greatest and The Seweryn Udziela Museum of most precious of Polish col- Ethnography in Krakow 18 lections of militaria items, Stary Theatre Museum 21 from the Middle Ages to the Second World War. 2 3 The 20th Century Polish Art Gallery comprises one of the most spectacular collections of Young Poland art. On display are the works of the most prominent artists of that period, who shaped the specific, decadent mood of Krakow at the turn of 19th and 20th century. The unsettling paintings by Witold Wo- jtkiewicz, Wojciech Weiss and Władysław Podkowiński leave a lasting impact and cannot easily be forgotten. The nearly miniature landscapes by Jan Stanisławski reflect his nostalgia for Ukraine. Worth seeing are the works of such masters as Jacek Malczewski and Leon Wyczółkowski. Extremely interest- ing are the designs of stained glass windows for Wawel Ca- One can get to know the art of stained glass also in the thedral by Stanisław Wyspiański. Another example of stained Gallery of Craftsmanship. There is an outstanding set glass window making technique is Józef Mehoffer’s project of them from the Dominican church of św. Trójca (Holy intended for the cathedral in Freiberg in Switzerland. Next to it Trinity) in Krakow, from the 13th–15th century. Preserved is the stained glass window Vita Somnium Breve (Life is a Short in its original form, it astonishes with the richness and Dream), made according to the design of the same artist. depth of colours. 4 5 National Museum iN Krakow Part of the Gallery of Craftsmanship is devoted entirely to the art of the Secession period. The common, everyday items The Wyspiański Museum made in the best Polish and European workshops are fas- in the Szołayski House cinatingly masterfully crafted. Twining, lithe lines of silver, 11 Szczepańska St. glass and porcelain items as well as of furniture, bring to life the world from 100 years ago. Among the rarities in Opening hours Polish collections are the works of glass by Emil Galle, and Tuesday (temporary exhibitions only): part of a coffee set designed by an architect from Vienna, 10.00 a.m.–6.00 p.m. Wednesday – Saturday: 10.00 a.m.–6.00 p.m. Josef Hoffmann (1910). A symbol of the Polish ceramics Sunday: 10.00 a.m.–4.00 p.m. of the Secession period is the vase with a procession of Monday: closed naked characters by Jan Szczepkowski. Free admission to permanent exhibitions KRAKOW MUSEUMS’ ROUTES on Sundays. the art of Young Poland, stained glass stained Poland, Young of art the www.muzeum.krakow.pl The museum is located in the house of the Krakow Szołayski family, built in the 17th century, and expanded in the 19th and 20th c. It was granted to the museum by Włodzimiera and Adam Szołayski in 1904 and commissioned in 1928. In 2003, after a long renovation the tenement became the location of the Stanisław Wyspiański Museum, ex- isting since 1983. The museum houses two permanent exhibitions. The Gallery of Stanisław Wyspiański’s Works has the greatest collection of his works in Poland. Among others are his original interior designs, and applied art, his self-portraits and portraits of his friends, works con- nected with theatre and stained glass designs. The sec- ond permanent exposition is devoted to Feliks Jasieński, 6 7 also know as “Manggha”. It recreates the mood of his flat in Krakow, and reminds visitors of the numerous friendships of this extraor- dinary collector and sup- porter of the museum with the prominent artists of the Young Poland period. in the Stanisław Wyspiański Museum we get to know the world of the Young Po- land period, and the works of one of the most promi- nent of Polish artists of the turn of the 19th and 20th some of the most beautiful stained glass windows of the century. His versatile activ- Young Poland period – Apollo, a decoration of the Medi- ity connected with almost cal House Society, and God the Father from a Franciscan every branch of arts helps church in Krakow. Also on display are the self-portraits of us to get to know the best Wyspiański and the portraits of his friends and children, examples of the Young Po- which are representative of Secession painting in Poland. land period paintings, stained glass designs, stage and One of the museum rooms, called the “Sapphire work- theatre costume design, and also the furnishing of bour- shop”, is devoted to the private life of the artist and the geois houses in the Secession period. We can see the subject of motherhood. Furniture, sculptures, tapestries original, legendary pieces of furniture made at the re- and trinkets once belonging to this great collector, give quest of Tadeusz Boy Żeleński and his wife Zofia for their a good impression of how bourgeois Secession residential flat in Krakow. Commanding attention are the designs of interiors looked. 8 9 National Museum iN Krakow The Mehoffer House 26 Krupnicza St. Opening hours Tuesday – Saturday: 10.00 a.m.–6.00 p.m. Sunday: 10.00 a.m.–4.00 p.m. Monday: closed Free admission to permanent exhibitions KRAKOW MUSEUMS’ ROUTES on Sundays. the art of Young Poland, stained glass stained Poland, Young of art the www.muzeum.krakow.pl The museum is located in a house at Krupnicza Street, which Józef Mehoffer – one of the top artists of Young Poland A beautiful garden by the house adds to the charm. – bought and furnished with stylish pieces of furniture, Among the most treasured stained glass pieces are: Vita works of art, and craftsmanship. In 1986 the house, ac- somnium breve; Caritas; Wiara, Nadzieja, Miłość (Faith, cording to the will of the artist’s family, was given to the Hope, Love); a portrait of his wife – the “Florentine”; National Museum in Krakow, where in January 1996 it the landscapes Wisła pod Niepołomicami (Vistula at was opened to the public. Niepołomice), and Czerwona parasolka (Red Umbrella); and designs – Nature and Art (for the Palace of Art in he inside of the house, which is now a biographical mu- T Krakow) and Flowers (polychrome motif of the Treasury at seum of the artist, is furnished according to his original Wawel Cathedral). idea. The unit is a museum of interiors, where the rooms are filled with the same old furniture and common items as once before, and which are excellent examples of Se- cession craftsmanship. The whole is completed with the works of Józef Mehoffer himself, i.e. stained glass, oil paintings and drawings. 10 11 Stained Glass Museum the craftsmen and with the workshop in which the piece is created is necessary to successfully realise the artist’s (S.G. Żeleński Krakow vision. The most renowned Polish designers, such as Stained Glass Workshop) Wyspiański, Mehoffer, Bukowski and Frycz, on more than al. Krasińskiego 23 one occasion stressed the importance of cooperation be- tween the artist and the craftsman in a properly equipped workshop, which not only helps in achieving the effect intended by the designer, but also allows him to alter the initial design during the course of creation of the piece, Opening hours even if it means the exchange of half the glass pieces for Open by arrangement only new ones .
Load more

Recommended publications
  • The Pseudojapanese in "Young Poland" Art
    Originalveröffentlichung in: Artibus et Historiae 11 (1985), S. 137-146 TERESA GRZYBKOWSKA The Pseudojapanese in "Young Poland" Art Japanese art was for the first time presented outside Japan other cultures were considered as subordinated and secon­ in 1862 at the London World Exhibition, and then in Vienna dary 2. «The Oriental World » in the 19th century European in 1873 and Paris in 1878 with the cooperation of an mind was entirely a romantic and passionate dream woven outstanding connoisseur, Wakai1. To European artists it was of poetry, literature, and art, from the writings of Byron, a true revelation owing to its simplicity, frankness, and close Flaubert, Nerval, and Lamartine, and from the paintings of contact with everyday life, but also to certain subtle features Delacroix, Gerome, and Ingres. The Orient was associated which were not easily comprehensible. In any case, it gave a above all with Morocco, Algeria, Egypt, and Turkey, but also strong impulse to sweep out of the European house stale with Persia and India, as lands promising fabulous riches, academicism, historical motifs, or pretentious fables concern­ unlimited luxury, forbidden eroticism, and hazardous adven­ ing the East. tures. Such an imaginary Orient offered satiation of those Admiration and imitation of Japanese culture and art, desires which were stifled byChristian morality, and it also Nipponism, was born in Western Europe and was entirely a constituted a sphere of liberty mainly appreciated by artists product of Western thought. Primarily it was based upon and their hangers-on, who lacked creative talents but were tourists, not very numerous in that period, returning from these wealthy enough to make an art of life itself.
    [Show full text]
  • Polish Mobilities and the Re-Making of Self, Family and Community
    Polish Mobilities and the Re-making of Self, Family and Community Katherine Botterill A thesis submitted for the degree of Doctor of Philosophy in the School of Geography, Politics and Sociology at Newcastle University February 2012 ABSTRACT The thesis explores the social and spatial mobilities of young Polish people and the ways in which the self, the family and the community are being re-made through mobility in an enlarged European Union. The research is based on an empirical study with post-accession current and return migrants in Edinburgh, Kraków and Katowice. It explores young people‘s perceptions and experiences of mobility in three key areas: the personal histories of mobility; the practice of mobility; and the relations of mobility. The thesis argues that social and spatial mobility are differentially and relationally experienced by young Polish people. Furthermore, through a critical engagement with theories of mobility and modernity it is argued that collective social forms (family and community) are being re-configured through mobility. Conceptually, the research is positioned within the inter-disciplinary study of mobilities, which assert the centrality of movement in contemporary social life (Urry and Sheller, 2006). Drawing on empirical evidence, the thesis provides an intimate reading of the personal transformations of mobility for young Polish migrants and offers micro-level analysis of theories of migration, mobility and modernity. As such it responds to calls for empirically grounded studies on mobilities (Cresswell, 2006; McDowell, 2006) and reflexivity (Atkinson, 2010), and contributes to a growing area of research post- accession Polish migration and mobility (Burrell, 2009). i Acknowledgements Firstly, I would like to express my thanks and gratitude to my supervisory team – Professors Alastair Bonnett, Alison Stenning, Jane Pollard and Nina Laurie.
    [Show full text]
  • Cultural Life in Independent Poland 1. Introduction 1. Difference Between
    - 1 - Cultural Life in Independent Poland 1. Introduction 1. Difference between the atmosphere of the twenties and the thirties. The joy, even euphoria, that followed the recovery of independence in 1918 was faithfully noted by literature. Around 1930, the tone changed. The economic crisis, the violation of the constitution by the military junta, the emergence of fascist groupings on the Right, propagating antisemitism and announcing ‘a night of long knives’ for ‘Jews and intellectuals,’ converged with Hitler’s grab for power in neighbouring Germany. Marxist publications began to attract writers, although few felt able to place their trust in Stalin. The Communist Party of Poland, considered a foreign agent and, thus, illegal, was given a low rating in Moscow because of its efforts to adapt itself to specific local conditions; its leaders were called to Moscow in 1938 and executed by order of Stalin, while the party itself was disbanded under the pretext that it was infested with traitors. In intellectual circles a feeling of impotence and presentiments of an imminent European catastrophe prevailed. It is no wonder, then, that the literature of the thirties was marked by apocalyptic or humorously macabre visions. 2. Conditions for cultural life now very different. 3. Richness of interwar cultural life. 2. Poetry 1. Skamander - 2 - The dominant literary clique in Poland in the optimistic years of the 1920s, as distinct from the 1930s when the mood in the country became much gloomier and more apocalyptic was known as the the Skamander group. As the first generation of writers to come to maturity in an independent Poland, they were eager to throw off the heavy burden of commitment to the Polish cause which had weighed down literature in the nineteenth century.
    [Show full text]
  • A Journey Through Polish Literature
    A JOURNEY THROUGH POLISH LITERATURE European Literature 09 OCTOBRE 2013 GORA BERNADETTE Henryk Sienkiewicz (1905), Władysław Reymont (1924), Czesław Miłosz (1980), Wisława Szymborska (1996). How many of you know these four authors and know what they have in common, besides their nationalities? The four of them were awarded a Nobel Prize but nevertheless remain little known outside of Poland. How many of you can give the name of, at least, one polish contemporary author? These examples, among many others, prove that Polish literature remains unknown despite it being a big part of European literature. To start my presentation, I’d like you to have a look on this quotation by Czesław Miłosz who wrote, among other, a book about the History of Polish Literature (The History of Polish Literature, Berckeley,1969). In his work, he wrote “Polish literature focused more on drama and the poetic expression of the self than on fiction (which dominated the English-speaking world). The reasons find their roots on the historical circumstances of the nation.” Over a first phase, it thus seems important to start out with a broad overview of the general history of Polish literature throughout the ages before we can understand what happened during the 20th century, and fully understand the main references to the previous time periods which we can find today. In Polish literature, historical problems have always been an essential characteristic. One can notice that Polish literature has always been torn between its social duties and literary obligations. With this in mind, it is possible for me to offer you the promised journey through my national literature.
    [Show full text]
  • Kazimiera Zawistowska’S Poetry, Young Poland, and Female Decadence
    INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 2, Issue 1 Spring 2019 Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence Heide Liedke ISSN: 2515-0073 Date of Acceptance: 30 May 2019 Date of Publication: 21 June 2019 Citation: Heide Liedke, ‘Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence’,Volupté: Interdisciplinary Journal of Decadence Studies, 2.1 (2019), 39-56. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence Heidi Liedke Queen Mary, University of London The contradictory currents that shaped Europe at the turn of the century were reflected in the literary production of the time. The Polish literature of the fin de siècle is an especially interesting case in point: Poland, which had disappeared from the map of Europe completely for 123 years (from 1795 to 1918), was partitioned at that time and its own literary past was blended with cultural influences from Habsburg Austria, the Kingdom of Prussia, and the Russian Empire. As a consequence, a distinctly new Polish literature emerged, one that captured the essence of cosmopolitanism.1 Maria Podraza-Kwiatkowska refers to the literature produced between 1890- 1918 as ‘Młoda Polska’ [Young Poland] and chooses this term because of its neutrality that nevertheless captures the divergent tendencies within it, spanning Symbolism and Expressionism. In contrast to other scholars, Podraza-Kwiatkowska dismisses the terms ‘Decadence’ and ‘Modernism’ because they encompass broader phenomena than literature.2 These dynamics of blending were in tension with the lived realities of all Poles.
    [Show full text]
  • Table of Contents
    TABLE OF CONTENTS Introduction 1 The Wall of century ago: Georg Brandes’ travelling in Poland 9 Against legends and myths. Stanisław Brzozowski and his psychoanalysis of the Polish soul 39 Construction of the Self in Polish culture – a neglected context of Polish Modernism 59 Czesław Miłosz and his ambiguous Modernity 73 Catching up with Witold Gombrowicz: between Modernity and Post-Modernity 115 Freedom from… or freedom to…? On the idea of freedom in the writings of Witold Gombrowicz 139 Conclusions. The Polish intelligentsia and Modernity: the search for new paradigms 169 Introduction In the long history of Polish culture, periods of openness toward Europe frequently intertwined with times of xenophobia and inwardness. Streams of ideas, values, philosophical thoughts and aesthetic trends ran constantly from France, Italy, German)' and England, leaving traces on Polish architecture, art, economy, politics, literature and philosophy. Sometimes the stream ran back to Europe, or even to the East — (Russia, Ukraine, Lithuania) -bringing Polish ideas, original Polish strands, reflections, symbols and images to other Europeans. During the past two centuries the cultural communication between Poland and Western Europe was affected by the ideas of Modernity. In different waves, the ideas produced by the Enlightenment and Romanticism, by Positivism, by Modernism and Avant-garde influenced Polish mentality and lifestyle, changed the Poles' aesthetic taste, and altered their conception of democracy, politics and the economy. There was a chain of Westernizers in Polish culture, philosophy and politics; a string of modernizers who worked for the idea of the modern Poland; who attempted to graft new values onto the Polish mentality.
    [Show full text]
  • POLISH INDEPENDENT PUBLISHING, 1976-1989 a Dissertation Submitted to the Faculty of the Graduate Scho
    MIGHTIER THAN THE SWORD: POLISH INDEPENDENT PUBLISHING, 1976-1989 A Dissertation Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History. By Siobhan K. Doucette, M.A. Washington, DC April 11, 2013 Copyright 2013 by Siobhan K. Doucette All Rights Reserved ii MIGHTIER THAN THE SWORD: POLISH INDEPENDENT PUBLISHING, 1976-1989 Siobhan K. Doucette, M.A. Thesis Advisor: Andrzej S. Kamiński, Ph.D. ABSTRACT This dissertation analyzes the rapid growth of Polish independent publishing between 1976 and 1989, examining the ways in which publications were produced as well as their content. Widespread, long-lasting independent publishing efforts were first produced by individuals connected to the democratic opposition; particularly those associated with KOR and ROPCiO. Independent publishing expanded dramatically during the Solidarity-era when most publications were linked to Solidarity, Rural Solidarity or NZS. By the mid-1980s, independent publishing obtained new levels of pluralism and diversity as publications were produced through a bevy of independent social milieus across every segment of society. Between 1976 and 1989, thousands of independent titles were produced in Poland. Rather than employing samizdat printing techniques, independent publishers relied on printing machines which allowed for independent publication print-runs in the thousands and even tens of thousands, placing Polish independent publishing on an incomparably greater scale than in any other country in the Communist bloc. By breaking through social atomization and linking up individuals and milieus across class, geographic and political divides, independent publications became the backbone of the opposition; distribution networks provided the organizational structure for the Polish underground.
    [Show full text]
  • Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska
    Jane Kristof book review of Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Citation: Jane Kristof, book review of “Polish Art Nouveau by Stefania Krzysztofowicz- Kozakowska,” Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002), http://www.19thc- artworldwide.org/autumn02/248-polish-art-nouveau-by-stefania-krzysztofowicz-kozakowska. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2002 Nineteenth-Century Art Worldwide Kristof: Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Stefania Krzysztofowicz-Kozakowska Polish Art Nouveau, translated by Krzysztof Kwasniewicz Kraków: Wydawnictwo Kluszczynski, 1999 464 pp.; 608 color ills.; $99.90 ISBN 83-88080-15-6 For a nineteenth-century artist to attain stardom it was undoubtedly advantageous to be French. Failing that, to be British was second best and German a distant third. But to be Eastern European was an almost insuperable obstacle to attaining international artistic celebrity. Among the approximately five hundred illustrations in Robert Rosenblum and H. W. Janson's 19th-Century Art (1984), for instance, there is only one work by a Polish artist, Aleksander Gierymski's The Arbor (Study with Top Hat), ca. 1880–82, and that is probably one more than in other standard texts. This neglect makes all the more valuable Polish Art Nouveau, a recently published study by Stefania Krzysztofowicz-Kozakowska, a curator at the National Museum in Kraków and the author of several books and exhibition catalogues on Polish art.
    [Show full text]
  • Polish Culture Yearbook 2017
    2017 POLISH CULTURE YEARBOOK 2017 POLISH CULTURE YEARBOOK Warsaw 2018 TENETS OF CULTURAL POLICY FOR 2018 2017 Prof. Piotr Gliński, Minister of Culture and National Heritage 5 REFLECTIONS ON CULTURE FROM AN INSTITUTIONAL PERSPECTIVE Prof. Rafał Wiśniewski, Director of the National Centre for Culture 13 TABLE O CONTENTS TABLE 1. CENTENARY CELEBRATIONS OF THE REPUBLIC OF POLAND REGAINING INDEPENDENCE 17 THE MULTI-ANNUAL GOVERNMENTAL ‘NIEPODLEGŁA’ PROGRAM (Ed. Office of the ‘Niepodległa’ Program) 18 2. FIELDS OF CULTURE AND NATIONAL HERITAGE 27 POLISH STATE ARCHIVES (Ed. Head Office of Polish State Archives) 28 LIBRARIES (Ed. The National Library) 38 CULTURAL CENTRES (Ed. Centre for Cultural Statistics, Statistical Office in Kraków) 52 POLISH CULTURE YEARBOOK POLISH CULTURE CINEMATOGRAPHY (Ed. Polish Film Institute) 60 MUSEUMS (Ed. National Institute for Museums and Public Collections) 69 MUSIC (Ed. Institute of Music and Dance) 82 PUBLISHING PRODUCTION - BOOKS AND MAGAZINES (Ed. The National Library) 90 BOOK MARKET – THE CREATIVE ECONOMY (Ed. Book Institute) 98 ART EDUCATION (Ed. Centre for Art Education) 104 DANCE (Ed. Institute of Music and Dance) 113 THEATRE (Ed. Zbigniew Raszewski Theatre Institute) 118 HISTORICAL MONUMENTS: THE STATE OF CONSERVATION (Ed. National Heritage Board of Poland) 128 3. POLISH CULTURE ABROAD 141 POLISH CULTURAL HERITAGE ABROAD (Ed. Ministry of Culture and National Heritage Department of Cultural Heritage Abroad and Wartime Losses ) 142 NATIONAL MEMORIAL SITES ABROAD (Ed. Ministry of Culture and National Heritage Department of Cultural Heritage Abroad and Wartime Losses ) 162 RESTITUTION OF CULTURAL PROPERTY (Ed. Ministry of Culture and National Heritage Department of Cultural Heritage Abroad and Wartime Losses) 169 4.
    [Show full text]
  • He Past in Pre-Raphaelite and Young Poland's
    SHORT ARTICLEST he Past ART NOUVEAU in Pre-Raphaelite and Young Poland's Art Piotr Kopszak Poland William Holman Hunt, Rienzi, 1849. Pre-Raphaelite painting is regarded as one of (Young Poland) generation go deeper. One of the visual sources of the ubiquitous Art Nou- the less obvious similarities is their treatment veau motif, the sinuous line. Pre-Raphaelite of historical subjects. It would be perhaps an painters indulged in ostentatious depiction of exaggeration to maintain that the Pre-Rapha- flamboyant hairdresses in their female port- elite Brotherhood developed a distinctive gen- raits. It would not be too difficult to notice re of historical painting. Some of its members their affinity with fin-de-siècle European pain- were still closely attached to tenets of acade- ting, Polish painting included, as for instance mic painting1 . in one of the most popular paintings by W³a- dys³aw Œlewiñski, a friend of Gauguin who Already in the early years of its existence, took up painting when he arrived in Paris ha- paintings that depart from academic ideals as ving no plans to embark on artistic career. The codified in Britain by Joshua Reynolds were sinuous line, which on the first glance may created. This attitude was certainly not acci- seem an almost abstract form, was in fact dental2 . loaded with meanings, as was often the case with works of art created around 1900. The first symptoms of change can already be found in Rienzi (1849) by William Holman Connections between the art of the Pre- Hunt. The very choice of subject, the moment Raphaelites and the artists of the M³oda Polska of intense emotion caused by the death of 166 starapolska strikingly Uncommon Culture The influence of French symbolism, with its predilection for nuance and indirect suggestion, was the reason for the disappearance of traditional historic scenes.
    [Show full text]
  • POLISH ART NOUVEAU, 1890-1910 Hannah Justine Marchman a Thesis
    NATIONALISM IN AN INTERNATIONAL MOVEMENT: POLISH ART NOUVEAU, 1890-1910 Hannah Justine Marchman A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum in Russian and East European Studies in the College of Arts & Sciences. Chapel Hill 2012 Approved by: Ewa Wampuszyc Pamela Kachurin Chad Bryant © 2012 Hannah Justine Marchman ALL RIGHTS RESERVED ii Abstract HANNAH MARCHMAN: Nationalism in an International Movement: Polish Art Nouveau, 1890-1910 (Under the direction of Ewa Wampuszyc) While the Art Nouveau movement in Europe has been extensively studied, Polish art has been largely left out of the discussion. However, this absence should not be considered as proof that Polish artists did not create art works in the Art Nouveau style. In fact, Art Nouveau was prevalent in Poland, but unlike the movement in Europe, Polish Art Nouveau tended to have political undertones. This thesis examines how Polish artists adapted the wider Art Nouveau movement to Polish culture, and assisted the political agenda that Polish art had been charged with in the aftermath of the eighteenth century partitions. Furthermore, this thesis describes the wider Polish Art Nouveau movement and looks at the underlying meanings of paintings, stained glass window designs, posters, and postcards from 1890 to 1910. iii This thesis is dedicated to my wonderful husband Patrick. His support, encouragement, and unconditional love kept me going. iv ACKNOWLEDGEMENTS Foremost, I would like to thank my advisor Dr. Ewa Wampuszyc for her patience, encouragement, and immense knowledge.
    [Show full text]
  • The Krakow Art Nouveau Poster
    MAGDALENA CZUBINSKA* УДК 766.069.51(475)”1898/1918” THE KRAKOW ART NOUVEAU POSTER Abstract: The National Museum in Krakow has a Workshops. Called Secesja in Poland, the style made the biggest collection of Polish Art Nouveau poster. The artistic curved, wavy line, flat, contour-enclosed patches, asymmetry, poster phenomena began in Poland very early, in 1894. The unusual proportions, and nature-inspired motifs its greatest Polish artists, such as: Stanislaw Wyspianski, hallmarks, and had an exceptionally large number of names: Wojciech Weiss, Teodor Axentowicz and many others Art Nouveau in France2 , Jugendstil in Germany, Sezessionsstil designed the numerous posters connected with the artistic life in Austria, Stile Floreale in Italy, and Modernismo in Spain. of the city . The poster exhibitions started since 1898. Untill In the early days of the new century, new tendencies the end of the First World War Krakow and Lvov were the emerged expressionism and modernism, which at the very main centers of the Polish art of printing and poster. The outset challenged the premises of the uncontrollable Art author presents the artistic position of Krakow, its greatest Nouveau style3 . artists, the tendencies and influences that were popular in that Defining the phenomena enclosed within the dates time. 1890-1919 poses a considerable problem. The chosen term is Art Nouveau probably the most international and wide. The Key words: Art Nouveau, Poster, Krakow, Fin de term Fin de siècle is imprecise and inaccurate, especially in the siècle, Print, Lithography context of the timeframe and another French term, La Belle Époque, which refers to the beginning of the 20th century.
    [Show full text]