Pro Arte: monografia grupy warszawskich artystów 1922 - 1932
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Wydawnictwo Neriton
2006
|
| Ausgabe: | Wyd. 1. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Monograph of the Warsaw Pro Arte Group (1922 - 1932) |
| Beschreibung: | 188 S. Ill. |
| ISBN: | 8389729792 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804137104796549120 |
|---|---|
| adam_text | Spis treści
Wstęp
.......................................................7
Zarys sytuacji sztuk plastycznych w
II
Rzeczpospolitej w warszawskich
środowiskach o charakterze tradycyjnym
............................16
Historia działalności Grupy
Pro Arte
...............................32
Twórczość członków ugrupowania
Pro Arte
.........................42
Poglądy teoretyczne członków ugrupowania
Pro Arte
..................65
Zakończenie
..................................................84
Przegląd najważniejszych wystaw i wydarzeń artystycznych w sztuce polskiej
lat
1919-1939,
w których uczestniczyli członkowie
Pro Arte
............86
Biogramy
...................................................105
Katalog wybranych reprezentatywnych prac artystów Grupy
Pro Arte,
znajdujących się w muzeach w Polsce
.............................142
Fragmenty katalogów z wystaw Stowarzyszenia
Pro Arte
...............152
Summary...................................................
156
Bibliografia
.................................................159
Indeks osobowy
..............................................166
Monograph of the Warsaw Pro
Arte
Group
(1922-1932)
Abstract
The purpose of The Monograph of the Warsaw Pro
Arte
Group
(1922-1932)
is to present
the works of the artists of this Association who remain in oblivion today but were of great
importance for the Polish painting of the interwar period. The book is divided into two parts:
an analytic one that encompasses the main body of the text, and fact-collecting, including
a review of the most important exhibitions and artistic events in the Polish art of
1919—1939
in which the Pro
Arte
artists participated, as well as the biographic entries and catalogue of
selected representative works of art of the Pro
Arte
preserved in Polish museums.
The analysis of the documentation was made on the basis of thorough search query in
all Polish principal museums, i.e. in Warsaw (the National Museum, the Print Room of the
Warsaw University Library, the Historical Museum of Warsaw and the Adam
Mickiewicz
Museum of Literature), in Krakow (the Czartoryski Museum, the Jagiellonian Library, De¬
partment of Graphic Works of the Library of the Polish Academy of Arts and Sciences and
the Polish Academy of Sciences), in Lodz,
Poznan,
Opole,
Plock,
Wroclaw (the National
Museum and the Graphic Art Department of the Library of the
Ossoliński
National Insti¬
tute), in Gdansk,
Kielce,
Szczecin,
Częstochowa, Białystok, Toruń,
and
Bytom.
I have also
taken into account the collections of the
Musée d Orsay
in Paris and the New
Pinakothek
in Munich. I have also made use of the preserved exhibition catalogues of the group held in
the
Zachęta
Gallery, exhibitions reviews published in, among others,
Biblioteka Warszaw¬
ska , Biesiada Literacka , Chimera , Czas , Ekspres Poranny , Głos Plastyków , Kraj ,
Kurier Warszawski , Kurier Szczeciński , Myśl Narodowa , Południe , Rocznik Auk¬
cyjny , Tygodnik Ilustrowany , Sztuki Piękne , Wędrowiec , Zdrój .
There is neither a monograph of the Pro
Arte
Group nor a whole chapter dedicated
solely to it in any major study of Polish painting. There are no references to the group activ¬
ity in the Polish Painting of the Nineteenth and Twentieth Century, by
Eligiusz Niewiadomski
or in the third volume of the History of Painting in Poland by
Feliks Kopera,
published in
1929 -
despite the fact that in both books there are information about the individual
members of the group, rather in a favourable tone.
The first mention about the Pro
Arte was
made in the text by Maria Rogoyska entitled
Artistic Patronage in Poland in
1918-1930,
included in the
Matériák
for Studies and Discus¬
sion,
nos.
3-4,
published in
1954.
The authoress defined the members of the group as the
pompous artists ideologically and artistically associated with Warsaw
Zachęta.
Тіге
following
publications, in which there are references to the Pro
Arte
made, repeated the opinion of
Rogoyska (as, for instance, the Modern Polish Painting, vol.
3, 1964).
156
Some other information about the Pro
Arte
Group could be found in the monographs
dedicated to the individual artists:
Stanisław Masłowski, Władysław
Wankie, Marian
Wawrzeniecki, or
Henryk
Weyssenhoff. The membership of the group was noticed in the
biographic entries of the Dictionary of Polish and Foreign Artists Active in Poland which has
been published since
1971.
It should be noticed here that the group used both the names
oí
Association and Group,
which is evident in the Catalogues of the Pro
Arte
Association from the exhibitions held
in the Warsaw
Zachęta
Gallery the Pro
Arte
Group had no explicit artistic programme, it
was an association of the artists with similar artistic principles which were realised in an
individual way but allowed group exhibitions. The main purpose of the group, however, was
to safeguard of Polish art .
The book focuses on the activity of the Pro
Arte
Group which in
1922-1932
united in
its ranks undoubtedly various artistic personalities. The study is the first attempt to restore
their due place in the world of art both to the group itself and the individual members.
Certainly the activity of the Pro
Arte
Association and such formations as the Sursum
Corda
or Mazovia developed from the
1
9 -century traditions and their bedrock was on the one
hand the institution of the Warsaw Society for Encouragement of Fine Arts
Zachęta,
on the
other individual tastes of audience or art dealers to whom this form of artistic manifestation
was the fullest expression of the patriotic and pathetic meanings they expected from painting.
The Pro
Arte
appears as a buoyant group partly social in nature, and partly organised for
achievements of more general purposes
—
to increase the access of the group members to
exhibition halls, consistently realise their own vision of art. At the same time the group was
sharply criticised by the critics with avant-garde leanings.
In order to present in the most broad way the artistic achievements of the artists associ¬
ated with the Pro
Arte
Group the study has been divided into two parts: the first one presents
the Pro
Arte
as a collective, the second depicts the achievements of individual members.
The first part is divided into four chapters.
Tlie
first chapter, entitled The Outline of
Fine Arts Situation in the Second Polish Republic in the Traditional Communities , pertains
to the state of the art in the Polish State reborn after the World War I. It sheds light on the
contrast between the avant-garde art and demands of the Polish society, relationship between
the artists expectations in regards to State patronage and actual reality and discusses the issues
of lack of suitable exhibition rooms which escalated the conflict between the Warsaw
Zachęta
and artists.
The second chapter, History of the Pro
Arte
Group , describes the reasons for which
the group was established, its personal changes, gives the precise dates of successive exhibi¬
tions together with the size of presented collections. It also offers the critical opinions voiced
at the time in reviews dedicated to the analysis of the exhibition activity of the group.
The next chapter attempts to analytically present the artistic creativity of the group
members whose great artistic heritage was categorised into the sections on: landscape, town-
scape, battle-piece painting, symbolic art and book illustration. In this chapter, which is of
special importance for a genuine evaluation of the group contribution to the development
of the Polish painting, chronological order was not preserved. The presented works of art
were made at different times, and this lack of chronology is justified for several reasons. First
of all, during the exhibitions under the auspices of Pro
Arte
the artists presented their works
from various times, without caring about chronology of their artistic achievements. Secondly,
157
the ambiguity of catalogue descriptions frequently unable us to precisely establish whether
the given work of art was exhibited or not. Apart from that, numerous founders of the group
at the time of its formation were quite elderly and sick people
(Piątkowski
was actually blind,
Weyssenhoffwas seriously ill with coronary heart disease, Kaminski suffered of mental dis¬
turbances) and they hardly painted at all. So, in the chapter devoted to the artistic achieve¬
ments of the individual members of the Pro
Arte
I tried to emphasise the most characteristic
works, present the most typical solutions to the problems of painting nature they had devel¬
oped during their struggles of long standing. I also attempted to indicate their sources of
inspirations and aims they pursued.
In the forth chapter entitled Theoretical Concepts of the Pro
Arte
Group Members
I encountered similar problem to the previous chapter, connected with the necessity to define
the chronological range of the analysis, i.e. the question whether to restrict the source mate¬
rial for die years of
1922—1932
or to include the previous material in order to gain fuller
cohesion of the presentation. Since the Pro
Arte
Group did not develop a coherent artistic
doctrine, I wanted to define the rudimentary principles shaping a painter s perspective of the
individual members of the Association. My another purpose was to present the achievements
critical for the development of Polish modernism connected with such persons as
Henryk
Piątkowski, Władysław
Wankie, Stefan
Popławski.
These artists appeared in the Polish artis¬
tic thought in the
1
890s, and in the following decades they only slightly modified their
opinions about the role of landscape in painting, about impressionism, symbolism in paint¬
ing, the duties of art towards the motherland and society, a place of an artist in the society.
The Pro
Arte
Group is a little known but extremely interesting example of coexistence
on the Polish artistic scene between the forms of traditional art
-
occasionally defined as
backward one
—
and so-called avant-garde; it should be remembered, however, that the inter¬
est in both visions of world presented by these formations were at the time inversely propor¬
tional to the number of research texts describing them today. It is worth to mention also,
that the pro
Arte was
the last form of artistic expression of numerous
nestors
of Polish
painting, such as
Władysław
Wankie,
Henryk Weyssenhoff, Wojciech Kossak, Stanisław
Masłowksi, and Józef Rapacki
-
artists highly esteemed during their life and still respected.
158
|
| adam_txt |
Spis treści
Wstęp
.7
Zarys sytuacji sztuk plastycznych w
II
Rzeczpospolitej w warszawskich
środowiskach o charakterze tradycyjnym
.16
Historia działalności Grupy
Pro Arte
.32
Twórczość członków ugrupowania
Pro Arte
.42
Poglądy teoretyczne członków ugrupowania
Pro Arte
.65
Zakończenie
.84
Przegląd najważniejszych wystaw i wydarzeń artystycznych w sztuce polskiej
lat
1919-1939,
w których uczestniczyli członkowie
Pro Arte
.86
Biogramy
.105
Katalog wybranych reprezentatywnych prac artystów Grupy
Pro Arte,
znajdujących się w muzeach w Polsce
.142
Fragmenty katalogów z wystaw Stowarzyszenia
Pro Arte
.152
Summary.
156
Bibliografia
.159
Indeks osobowy
.166
Monograph of the Warsaw Pro
Arte
Group
(1922-1932)
Abstract
The purpose of The Monograph of the Warsaw Pro
Arte
Group
(1922-1932)
is to present
the works of the artists of this Association who remain in oblivion today but were of great
importance for the Polish painting of the interwar period. The book is divided into two parts:
an analytic one that encompasses the main body of the text, and fact-collecting, including
a review of the most important exhibitions and artistic events in the Polish art of
1919—1939
in which the Pro
Arte
artists participated, as well as the biographic entries and catalogue of
selected representative works of art of the Pro
Arte
preserved in Polish museums.
The analysis of the documentation was made on the basis of thorough search query in
all Polish principal museums, i.e. in Warsaw (the National Museum, the Print Room of the
Warsaw University Library, the Historical Museum of Warsaw and the Adam
Mickiewicz
Museum of Literature), in Krakow (the Czartoryski Museum, the Jagiellonian Library, De¬
partment of Graphic Works of the Library of the Polish Academy of Arts and Sciences and
the Polish Academy of Sciences), in Lodz,
Poznan,
Opole,
Plock,
Wroclaw (the National
Museum and the Graphic Art Department of the Library of the
Ossoliński
National Insti¬
tute), in Gdansk,
Kielce,
Szczecin,
Częstochowa, Białystok, Toruń,
and
Bytom.
I have also
taken into account the collections of the
Musée d'Orsay
in Paris and the New
Pinakothek
in Munich. I have also made use of the preserved exhibition catalogues of the group held in
the
Zachęta
Gallery, exhibitions reviews published in, among others,
"Biblioteka Warszaw¬
ska", "Biesiada Literacka", "Chimera", "Czas", "Ekspres Poranny", "Głos Plastyków", "Kraj",
"Kurier Warszawski", "Kurier Szczeciński", "Myśl Narodowa", "Południe", "Rocznik Auk¬
cyjny", "Tygodnik Ilustrowany", "Sztuki Piękne", "Wędrowiec", "Zdrój".
There is neither a monograph of the Pro
Arte
Group nor a whole chapter dedicated
solely to it in any major study of Polish painting. There are no references to the group activ¬
ity in the Polish Painting of the Nineteenth and Twentieth Century, by
Eligiusz Niewiadomski
or in the third volume of the History of Painting in Poland by
Feliks Kopera,
published in
1929 -
despite the fact that in both books there are information about the individual
members of the group, rather in a favourable tone.
The first mention about the Pro
Arte was
made in the text by Maria Rogoyska entitled
Artistic Patronage in Poland in
1918-1930,
included in the
Matériák
for Studies and Discus¬
sion,
nos.
3-4,
published in
1954.
The authoress defined the members of the group as the
pompous artists ideologically and artistically associated with Warsaw
Zachęta.
Тіге
following
publications, in which there are references to the Pro
Arte
made, repeated the opinion of
Rogoyska (as, for instance, the Modern Polish Painting, vol.
3, 1964).
156
Some other information about the Pro
Arte
Group could be found in the monographs
dedicated to the individual artists:
Stanisław Masłowski, Władysław
Wankie, Marian
Wawrzeniecki, or
Henryk
Weyssenhoff. The membership of the group was noticed in the
biographic entries of the Dictionary of Polish and Foreign Artists Active in Poland which has
been published since
1971.
It should be noticed here that the group used both the names
oí
Association and Group,
which is evident in the "Catalogues of the Pro
Arte
Association" from the exhibitions held
in the Warsaw
Zachęta
Gallery the Pro
Arte
Group had no explicit artistic programme, it
was an association of the artists with similar artistic principles which were realised in an
individual way but allowed group exhibitions. The main purpose of the group, however, was
to "safeguard of Polish art".
The book focuses on the activity of the Pro
Arte
Group which in
1922-1932
united in
its ranks undoubtedly various artistic personalities. The study is the first attempt to restore
their due place in the world of art both to the group itself and the individual members.
Certainly the activity of the Pro
Arte
Association and such formations as the Sursum
Corda
or Mazovia developed from the
1
9'''-century traditions and their bedrock was on the one
hand the institution of the Warsaw Society for Encouragement of Fine Arts
Zachęta,
on the
other individual tastes of audience or art dealers to whom this form of artistic manifestation
was the fullest expression of the patriotic and pathetic meanings they expected from painting.
The Pro
Arte
appears as a buoyant group partly social in nature, and partly organised for
achievements of more general purposes
—
to increase the access of the group members to
exhibition halls, consistently realise their own vision of art. At the same time the group was
sharply criticised by the critics with avant-garde leanings.
In order to present in the most broad way the artistic achievements of the artists associ¬
ated with the Pro
Arte
Group the study has been divided into two parts: the first one presents
the Pro
Arte
as a collective, the second depicts the achievements of individual members.
The first part is divided into four chapters.
Tlie
first chapter, entitled "The Outline of
Fine Arts Situation in the Second Polish Republic in the Traditional Communities", pertains
to the state of the art in the Polish State reborn after the World War I. It sheds light on the
contrast between the avant-garde art and demands of the Polish society, relationship between
the artists expectations in regards to State patronage and actual reality and discusses the issues
of lack of suitable exhibition rooms which escalated the conflict between the Warsaw
Zachęta
and artists.
The second chapter, "History of the Pro
Arte
Group", describes the reasons for which
the group was established, its personal changes, gives the precise dates of successive exhibi¬
tions together with the size of presented collections. It also offers the critical opinions voiced
at the time in reviews dedicated to the analysis of the exhibition activity of the group.
The next chapter attempts to analytically present the artistic creativity of the group
members whose great artistic heritage was categorised into the sections on: landscape, town-
scape, battle-piece painting, symbolic art and book illustration. In this chapter, which is of
special importance for a genuine evaluation of the group contribution to the development
of the Polish painting, chronological order was not preserved. The presented works of art
were made at different times, and this lack of chronology is justified for several reasons. First
of all, during the exhibitions under the auspices of Pro
Arte
the artists presented their works
from various times, without caring about chronology of their artistic achievements. Secondly,
157
the ambiguity of catalogue descriptions frequently unable us to precisely establish whether
the given work of art was exhibited or not. Apart from that, numerous founders of the group
at the time of its formation were quite elderly and sick people
(Piątkowski
was actually blind,
Weyssenhoffwas seriously ill with coronary heart disease, Kaminski suffered of mental dis¬
turbances) and they hardly painted at all. So, in the chapter devoted to the artistic achieve¬
ments of the individual members of the Pro
Arte
I tried to emphasise the most characteristic
works, present the most typical solutions to the problems of painting nature they had devel¬
oped during their struggles of long standing. I also attempted to indicate their sources of
inspirations and aims they pursued.
In the forth chapter entitled "Theoretical Concepts of the Pro
Arte
Group Members"
I encountered similar problem to the previous chapter, connected with the necessity to define
the chronological range of the analysis, i.e. the question whether to restrict the source mate¬
rial for die years of
1922—1932
or to include the previous material in order to gain fuller
cohesion of the presentation. Since the Pro
Arte
Group did not develop a coherent artistic
doctrine, I wanted to define the rudimentary principles shaping a painter's perspective of the
individual members of the Association. My another purpose was to present the achievements
critical for the development of Polish modernism connected with such persons as
Henryk
Piątkowski, Władysław
Wankie, Stefan
Popławski.
These artists appeared in the Polish artis¬
tic thought in the
1
890s, and in the following decades they only slightly modified their
opinions about the role of landscape in painting, about impressionism, symbolism in paint¬
ing, the duties of art towards the motherland and society, a place of an artist in the society.
The Pro
Arte
Group is a little known but extremely interesting example of coexistence
on the Polish artistic scene between the forms of traditional art
-
occasionally defined as
backward one
—
and so-called avant-garde; it should be remembered, however, that the inter¬
est in both visions of world presented by these formations were at the time inversely propor¬
tional to the number of research texts describing them today. It is worth to mention also,
that the pro
Arte was
the last form of artistic expression of numerous
nestors
of Polish
painting, such as
Władysław
Wankie,
Henryk Weyssenhoff, Wojciech Kossak, Stanisław
Masłowksi, and Józef Rapacki
-
artists highly esteemed during their life and still respected.
158 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Pawłowska, Aneta |
| author_facet | Pawłowska, Aneta |
| author_role | aut |
| author_sort | Pawłowska, Aneta |
| author_variant | a p ap |
| building | Verbundindex |
| bvnumber | BV022824654 |
| ctrlnum | (OCoLC)169782751 (DE-599)BVBBV022824654 |
| edition | Wyd. 1. |
| era | Geschichte 1922-1932 gnd |
| era_facet | Geschichte 1922-1932 |
| format | Book |
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| geographic | Warschau (DE-588)4079048-4 gnd |
| geographic_facet | Warschau |
| id | DE-604.BV022824654 |
| illustrated | Illustrated |
| index_date | 2024-07-02T18:41:19Z |
| indexdate | 2024-07-09T21:07:00Z |
| institution | BVB |
| isbn | 8389729792 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016029956 |
| oclc_num | 169782751 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 188 S. Ill. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Wydawnictwo Neriton |
| record_format | marc |
| spelling | Pawłowska, Aneta Verfasser aut Pro Arte monografia grupy warszawskich artystów 1922 - 1932 Aneta Pawłowska Monograph of the Warsaw Pro Arte Group (1922 - 1932) Wyd. 1. Warszawa Wydawnictwo Neriton 2006 188 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Monograph of the Warsaw Pro Arte Group (1922 - 1932) Stowarzyszenie Polskich Artystów "Pro Arte" (Warszawa) jhpk Geschichte 1922-1932 gnd rswk-swf Malarze - Polska - Warszawa - 1900-1945 - biografie jhpk Malarze - Polska - biografie jhpk Künstlervereinigung (DE-588)4165895-4 gnd rswk-swf Warschau (DE-588)4079048-4 gnd rswk-swf Warschau (DE-588)4079048-4 g Künstlervereinigung (DE-588)4165895-4 s Geschichte 1922-1932 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016029956&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016029956&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Pawłowska, Aneta Pro Arte monografia grupy warszawskich artystów 1922 - 1932 Stowarzyszenie Polskich Artystów "Pro Arte" (Warszawa) jhpk Malarze - Polska - Warszawa - 1900-1945 - biografie jhpk Malarze - Polska - biografie jhpk Künstlervereinigung (DE-588)4165895-4 gnd |
| subject_GND | (DE-588)4165895-4 (DE-588)4079048-4 |
| title | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 |
| title_alt | Monograph of the Warsaw Pro Arte Group (1922 - 1932) |
| title_auth | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 |
| title_exact_search | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 |
| title_exact_search_txtP | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 |
| title_full | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 Aneta Pawłowska |
| title_fullStr | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 Aneta Pawłowska |
| title_full_unstemmed | Pro Arte monografia grupy warszawskich artystów 1922 - 1932 Aneta Pawłowska |
| title_short | Pro Arte |
| title_sort | pro arte monografia grupy warszawskich artystow 1922 1932 |
| title_sub | monografia grupy warszawskich artystów 1922 - 1932 |
| topic | Stowarzyszenie Polskich Artystów "Pro Arte" (Warszawa) jhpk Malarze - Polska - Warszawa - 1900-1945 - biografie jhpk Malarze - Polska - biografie jhpk Künstlervereinigung (DE-588)4165895-4 gnd |
| topic_facet | Stowarzyszenie Polskich Artystów "Pro Arte" (Warszawa) Malarze - Polska - Warszawa - 1900-1945 - biografie Malarze - Polska - biografie Künstlervereinigung Warschau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016029956&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016029956&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT pawłowskaaneta proartemonografiagrupywarszawskichartystow19221932 AT pawłowskaaneta monographofthewarsawproartegroup19221932 |