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Działalność Towarzystwa Polska Sztuka Stosowana (1901-1913) – próby nawiązania współpracy między producentami, projektantami i odbiorcami

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Wójcik A.

Załącznik Kulturoznawczy

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2019

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nr 6. Design. Teoria, praktyka, interpretacje

105-119

XX

Active between 1901–1903, the Polish Applied Art Society (the TPSS), sought to achieve three essential aims: ‘to spread admiration for Polish applied art, to facilitate its development and to introduce it to the industry’. This article presents the activities of the TPSS, whose aim was to establish cooperation with manufacturers and workshops as well as to acquire commissions from institutions and private individuals. Under this cooperation, the TPSS opened competitions, provided designs or employed artists as artistic directors. The Society succeeded in establishing cooperation with a number of printing and publishing houses; it also finalised an agreement with Antonina Sikorska’s kilim workshop, Czernichów. What is more, by employing TPSS members as artistic directors, it exerted influence on ceramics manufacturing in J. Niedźwiecki & Co. Faience Factory in Dębniki and on that of stained glass in Stanisław Gabriel Żeleński’s Stained Glass and Mosaic Works in Krakow. The TPSS was also commissioned to design interiors and furniture by private individuals and by institutions. However, no cooperation was established with any furniture factory. Contrary to its plans, the Society did not succeed in directly influencing furniture manufacturing; its activities had the features of exclusive artistic craft. This is also how they were received by the audience. Summing up and closing its activities, the Society set a goal for Polish applied art, which would be to create two types of businesses – ones which would manufacture things ‘of quality, in design, material, and workmanship’ and others for ‘machine manufacturing’ and producing cheap objects without, however, ‘lowering standards of taste and workmanship’.

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„Dramat w seraju – Dziewczyna w kąpieli”. Wokół obrazu Pantaleona Szyndlera (1880)

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Wójcik A.

Biuletyn Historii Sztuki

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2014

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tom 76

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nr 2

219-240

EN

The paper aims at shedding some new light on Pantaleon Szyndler’s painting Bathing Girl displayed for 120 years at the Gallery of Polish 19 th -Century Art at Kraków’s Cloth Hall. The year 1880 has been pointed to as its creation date. The history of the painting, displayed subsequently in Paris, Kraków, St. Petersburg, and Berlin has been reconstructed. Moreover, successive transformations of the composition carried out by the painter have been pointed to. This is followed by the opinions of 19 th -century art critics on Szyndler’s work. Bathing Girl and other Szyndler’s works on Oriental topics are presented in the context of Orientalism in European painting of the 19 th century. A broader approach was used when the question of the influence of the Old Masters, particularly the works by Rembrandt and the 16 th -cenutry Venetian School was tackled. The Author also aimed at demonstrating that Szyndler’s friend and master Cyprian Kamil Norwid could have inspired the painter with such fascinations.

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Maria z Mikułowskich Chlebowska Madeyska - malarka orientalistka

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Wójcik A.

Biuletyn Historii Sztuki

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2012

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tom 74

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nr 3-4

641-652

EN

The article aims at presenting the figure of the painter Maria first married name Chlebowska second married name Madeyska née Mikułowska (1864-1936). Maria attended the Adrian Baraniecki Higher Courses for Women. Her artistic interests would have most likely remained but a maiden’s hobby, had she not met Stanisław Chlebowski in 1876. The painter noticed her talent, encouraged her to continue her education in this direction, and even supported her financially. In 1880, Maria married Stanisław, and then left with him for Paris where he had been living for several years. Under her husband’s guidance, the young painter created works showing Oriental genre scenes and still lifes. In Paris, Chlebowska’s works were appreciated and purchased, among others, by representatives of New York art dealers, the Knoedlers. Maria’s oeuvre was also noticed by the Polish press. Her promising painter’s career was, however, interrupted by her husband’s sudden disease which forced them to leave Paris. After Chlebowski’s death (1884). No traces have been found of her artistic output after 1894.

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The Nude in Nineteenth-Century Painting versus Photography and Pornography. The Case of Pantaleon Szyndler

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Wójcik A.

Modus. Prace z historii sztuki

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2015

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tom 15

235-246

EN

The article introduces the oriental theme in the work of Pantaleon Szyndler, a slightly forgotten Polish painter from the second half of the nineteenth and the beginning of the twentieth century. He was trained at art schools in Warsaw, Munich, Rome and Paris. Oriental themes had appeared in his work since 1872, culminating in the 1880s and 1890s. Szyndler painted scenes with nudes in oriental stylisation - usually oriental beauties resting in the tranquillity of seraglio. He successfully presented these works at the Parisian Salon and on exhibitions in Warsaw. His works won acclaim of critics, were often reproduced in newspapers and found numerous buyers. The painter did not have a first-hand knowledge of the Orient and apparently used a few types of photographs as sources of inspiration Mr his paintings: anthropological, which showed exotic women; pornographic, representing European models in oriental stylisation; and photographs depicting oriental' dancers.

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Artistic thought” which permeated “common taverns”. Restaurant interiors at the Stary Teatr in Kraków designed by the artists connected with the Polish Applied Arts Society (tpss)

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Wójcik A.

Modus. Prace z historii sztuki

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2018

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tom 18

137-150

EN

In 1906, the Krakow authorities decided to entrust the interior design of the restaurant to the newly renovated Stary Teatr to artists associated with the Polish Applied Arts Society - Edward Trojanowski, Ludwik Wojtyczek, Eugeniusz Dąbrow-Dąbrowski, and Józef Czajkowski. Numerous reconstructions of the edifice, restoring the theater's function to him, and lack of understanding of the applied art of the early twentieth century led to their irreversible destruction. This commission allowed artists to show stylistic solutions proposed by the Society. It was not a simple way of inspiration only by folk art, but rather drawing from the broader heritage of Polish artistic craft and combining it with forms proclaiming 20th-century modernism. Interiors in the Old Theater have become an example that Polish designers can create solutions that will not be a copy or even an inspiration from the interiors of Viennese or Parisian cafes, but are able to create their own language of forms. Thanks to this task, the Society could involve local craftsmen with whom it has been trying to cooperate since the beginning, and thus wanted to ennoble their work, establish a cooperation between an artist and a craftsman and show the public that based only on Polish forces, a high-class project can be realized . The interiors discussed and reproduced in the press allowed artists to present their skills, which resulted in further orders for interiors and furniture for public institutions and private apartments. The issues related to applied art widely discussed at the beginning of the 20th century, have even created a certain fashion for the interiors of cafes or restaurants in the style of "Polish applied art" which sometimes resulted in caricatural effects or brushed against the issue of plagiarizing projects.

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Styl mauretański w dekoracji świeckich wnętrz XIX-wiecznych

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Wójcik A.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2015

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nr 2(36)

20-39

EN

The 19th century fascination with culture and art of the Orient was revealed not only in painting and literature but also in interior design. Among oriental decorations one can single out a few style tendencies, with Moorish style inspired with art of Islamic countries as one of them. Fashion for this style affected both royal residences, public edifices and bourgeois apartments. Moorish style was applied in decoration of theatres, circuses, concert halls, casinos, restaurants, cafes, baths, swimming pools, and brothels as well. In private interiors oriental decoration was used in living rooms, billiard parlours, smoking rooms and bathrooms. Collector’s houses and artists’ ateliers too were arranged following Moorish mode. In the 19th century Moorish style was associated with ease, leisure and entertainment originated in Eastern countries; it also expressed fascinations, sentiments and memories of the Orient. Eastern ornaments encouraged irregular, asymmetric, bizarre and surprising arrangements, and combinations of various materials and colors. Interiors decorated this way created atmosphere of extraordinariness and wealth, and surrounded their owners with the impression of mystery or prestige.

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Myśl artystyczna”, która przeniknęła do „knajp”. Wnętrza restauracyjne w Starym Teatrze w Krakowie projektu artystów związanych z Towarzystwem Polska Sztuka Stosowana

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Wójcik A.

Modus. Prace z historii sztuki

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2018

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tom 18

123-136

PL

W roku 1906 władze Krakowa zdecydowały się powierzyć zaprojektowanie wnętrz restauracji w świeżo wyremontowanym Starym Teatrze artystom związanym z Towarzystwem Polska Sztuka Stosowana – Edwardowi Trojanowskiemu, Ludwikowi Wojtyczce, Eugeniuszowi Dąbrowie-Dąbrowskiemu, Józefowi Czajkowskiemu. Liczne przebudowy gmachu, przywrócenie mu funkcji teatru, a także brak zrozumienia dla sztuki stosowanej początku XX wieku doprowadził do ich bezpowrotnego zniszczenia. Zlecenie to pozwoliło artystom pokazać rozwiązania stylistyczne jakie proponowało Towarzystwo. Nie była to prosta droga inspiracji jedynie sztuką ludową, lecz czerpanie z szerzej pojętego dziedzictwa polskiego rzemiosła artystycznego i łączenie go z formami zwiastującymi XX-wieczny modernizm. Wnętrza w Starym Teatrze stały się przykładem, że polscy projektanci potrafią stworzyć rozwiązania, które nie będą kopią lub choćby inspiracją wnętrzami kawiarni wiedeńskich lub paryskich, lecz potrafią wytworzyć swój własny język form. Towarzystwo dzięki temu zleceniu mogło zaangażować do pracy miejscowych rzemieślników, z którymi od początku działalności starało się współpracować, a tym samym chciało nobilitować ich pracę, nawiązać nić współpracy artysta – rzemieślnik i pokazać publiczności, że opierając się jedynie na polskich siłach można zrealizować wysokiej klasy projekt. Omawiane i reprodukowane na łamach prasy wnętrza pozwoliły artystom na zaprezentowanie ich umiejętności, co skutkowało kolejnymi zleceniami na wnętrza i meble do instytucji publicznych i prywatnych mieszkań. Szeroko dyskutowane na początku XX wieku zagadnienia związane ze sztuką stosowaną, wytworzyły nawet w pewnym stopniu modę na wnętrza kawiarni, czy restauracji w stylu „polskiej sztuki stosowanej” co czasami skutkowało karykaturalnymi efektami lub ocierało się o kwestię plagiatowania projektów.

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Czy współczesna Turcja może być modelem dla arabskiego Bliskiego Wschodu?

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Wójcik A.

Krakowskie Studia Międzynarodowe

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2012

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nr 1

243-255

EN

Owing to the Arab Spring events, the Turkish model has become a widely discussed subject, whereas positive image of Turkey in the region fosters its commitment and realization of political aims. In this article I try to answer and discuss some crucial questions like: could modern Turkey become a model of development for the Arab world? Could it be a source of inspiration needed in transformation and democratization of Middle Eastern regimes? What are the aspirations and motivations behind Turkish engagement? What are the determinants of its political force and commitment both in regional and international dimensions?

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Watercolours with Views of Istanbul in the Collection of the Kórnik Library

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Wójcik A.

Modus. Prace z historii sztuki

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2014

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tom 14

239-248

XX

The present paper discusses four watercolours with views of Istanbul, held in the collection of the Kórnik Library, whose authorship has so far been ascribed to Jadwiga Zamoyska. Thanks to a comparison of these watercolours with the works put up for sale at the London Bonhams and Christies auction houses it was demonstrated that the works from Kórnik were painted by Amadeo Preziosi, and Jadwiga Zamoyska bought them from the painter during her stay in Istanbul in 1854. Next, the paper gives information on Preziosi, an outstanding watercolourist from Malta who specialised in oriental views and genre scenes. Then the author went on to identify the locations in Istanbul depicted in each of the watercolours, which resulted in the works having to be re-named. The View of Istanbul was changed into a View of the Golden Horn and Bosporus from Pera; the Cemetery at Eyiip became a View of the Golden Horn from the Cemetery at Eyiip; the Landscape from the Vicinity of Istanbul was re -named a View of Rumelihisari from theAsian Bank ofthe Bosporus, while the Landscape with the Blue Mosąue became a View of the Cisr-i Cedid Bridge with the Siileymaniye Mosąue in the Background. Finally, the Kórnik watercolours were compared with other watercolours representing nineteenth-century views of Istanbul. In the conclusion, an attempt has been madę to value the four works by Preziosi. On the basis of auction records, the price of each work has been estimated at approx. 20,000 pounds.