DOI issue:
Nr. 1-2
DOI article:Artykuły
DOI article:Sosnowska, Joanna: Udział polaków w międzynarodowym biennale sztuki w Wenecji do 1930 r.
DOI Page / Citation link:https://doi.org/10.11588/diglit.48914#0026
JOANNA SOSNOWSKA
Italy, for exainple, particularly in relation to those
national groups finding themselves under the control of
Austria. This situation gave rise to a separate hall being
set aside by the Biennial authorities in the Italian
pavilion for a joint Polish-Czech exhibition. This event
opens a second stage in the participation of Polish artists
at the spectacle, dominated by the Society of Polish
Artists "Sztuka" ("Art") which, already having an
established position in the international art scene thanks
largely to its contacts with the Viennese "Sezession",
took advantage of the favourable political situation
arising before the First World War to take part on two
occasions. The acting commissioner of exhibitions for
the Society was the painter Teodor Axentowicz. After
1918, as a result of difficulties in organising cultural life
in a newly-reborn state arising largely out of lack of
financial support, again it was only the Society "Sztuka"
and a small number of non-member artists invited by it
which proved capable of representing Poland at the
Biennial, on two occasions in 1920 and 1926. The
commissioner at this time was the painter Władysław
Jarocki. The fact that Poland possessed no pavilion of
its own greatly reduced the possibilities open to its
representatives; in 1920, for example, the Poles set up
temporary home in the pavilion vacated by the Germans.
From the moment Towarzystwo Szerzenia Sztuki
Polskiej Wśród Obcych (the Society for Propogating
Polish Art among Foreigners) had been set up in 1926
with government support and under the directorship of
the art historian Mieczysław Treter, attempts undertaken
to establish exhibition halls for exclusively Polish use
became consistent to be crowned by Poland's purchase
of a newly-built pavilion on St. Helen's Island, which
forms a part of the "Giardini Pubblici". Its inauguration
took place in 1932 during the 18th. Biennial. Again,
Poland was represented almost exclusively by artists
associated with the Society of Polish Artists, "Sztuka"
whose predominantly folkloristique works proved to be
enormously anachronistic. This exhibition marks the
close of the second stage. A certain watershed may be
recognised in the small exhibition organised for the 17th
Biennial of 1930 by the painter and art critic Wacław
Husarski who displayed graphic work, sculpture and
decorative art while avoiding painting altogether. A
Polish exhibition of this form enjoyed considerable
success: 61 works were purchased, which has proved a
record in the history of Polish participation in the
Biennial. Wacław Husarski, who was able to boast close
contacts with Italian intellectuals and artists, including
the then Biennial generał secretary, Antonio Maraini,
applied for the post of commissioner to the Polish
exhibitions at Venice, nevertheless he failed to oust
Mieczysław Treter.
The third stage covers three succesive Biennials
beginning in 1934. The commissioner Mieczysław
Treter, who decided which Polish artists took part in the
exhibitions, proved incapable of giving the Polish
displays a uniform and clearly-expressed aspect. In spite
of the marked declaration by the commissioner for
preferred tendencies in art, the exhibitions had an
ecclecticcharacter. Finding himselfunderpressure from
artist circles represented by Związek Zawodowy
Polskich Artystów Plastyków (the Polish Artists and
Painters Trades Union - ZZPAP), he also had exhibited
art of impressionistic groundwork (eg. Olga Boznańska)
as well as being connected with postimpressionistic
tendencies originating from France (Jan Cybis,
Zygmunt Wasilewski, Stanisław Szczepański and
Wacław Wąsowicz). The lack of uniform programme in
the Polish exhibitions at the Venice Biennial led to a loss
of interest in the spectacle both among Polish and
non-Polish critics.
It would appear that the Polish pavilion stood empty
during the Second World War, being returned to Poland
after 1945. Polish artists have actively taken part in the
Biennials since 1948.
Translated by Peter Martyn
16
Italy, for exainple, particularly in relation to those
national groups finding themselves under the control of
Austria. This situation gave rise to a separate hall being
set aside by the Biennial authorities in the Italian
pavilion for a joint Polish-Czech exhibition. This event
opens a second stage in the participation of Polish artists
at the spectacle, dominated by the Society of Polish
Artists "Sztuka" ("Art") which, already having an
established position in the international art scene thanks
largely to its contacts with the Viennese "Sezession",
took advantage of the favourable political situation
arising before the First World War to take part on two
occasions. The acting commissioner of exhibitions for
the Society was the painter Teodor Axentowicz. After
1918, as a result of difficulties in organising cultural life
in a newly-reborn state arising largely out of lack of
financial support, again it was only the Society "Sztuka"
and a small number of non-member artists invited by it
which proved capable of representing Poland at the
Biennial, on two occasions in 1920 and 1926. The
commissioner at this time was the painter Władysław
Jarocki. The fact that Poland possessed no pavilion of
its own greatly reduced the possibilities open to its
representatives; in 1920, for example, the Poles set up
temporary home in the pavilion vacated by the Germans.
From the moment Towarzystwo Szerzenia Sztuki
Polskiej Wśród Obcych (the Society for Propogating
Polish Art among Foreigners) had been set up in 1926
with government support and under the directorship of
the art historian Mieczysław Treter, attempts undertaken
to establish exhibition halls for exclusively Polish use
became consistent to be crowned by Poland's purchase
of a newly-built pavilion on St. Helen's Island, which
forms a part of the "Giardini Pubblici". Its inauguration
took place in 1932 during the 18th. Biennial. Again,
Poland was represented almost exclusively by artists
associated with the Society of Polish Artists, "Sztuka"
whose predominantly folkloristique works proved to be
enormously anachronistic. This exhibition marks the
close of the second stage. A certain watershed may be
recognised in the small exhibition organised for the 17th
Biennial of 1930 by the painter and art critic Wacław
Husarski who displayed graphic work, sculpture and
decorative art while avoiding painting altogether. A
Polish exhibition of this form enjoyed considerable
success: 61 works were purchased, which has proved a
record in the history of Polish participation in the
Biennial. Wacław Husarski, who was able to boast close
contacts with Italian intellectuals and artists, including
the then Biennial generał secretary, Antonio Maraini,
applied for the post of commissioner to the Polish
exhibitions at Venice, nevertheless he failed to oust
Mieczysław Treter.
The third stage covers three succesive Biennials
beginning in 1934. The commissioner Mieczysław
Treter, who decided which Polish artists took part in the
exhibitions, proved incapable of giving the Polish
displays a uniform and clearly-expressed aspect. In spite
of the marked declaration by the commissioner for
preferred tendencies in art, the exhibitions had an
ecclecticcharacter. Finding himselfunderpressure from
artist circles represented by Związek Zawodowy
Polskich Artystów Plastyków (the Polish Artists and
Painters Trades Union - ZZPAP), he also had exhibited
art of impressionistic groundwork (eg. Olga Boznańska)
as well as being connected with postimpressionistic
tendencies originating from France (Jan Cybis,
Zygmunt Wasilewski, Stanisław Szczepański and
Wacław Wąsowicz). The lack of uniform programme in
the Polish exhibitions at the Venice Biennial led to a loss
of interest in the spectacle both among Polish and
non-Polish critics.
It would appear that the Polish pavilion stood empty
during the Second World War, being returned to Poland
after 1945. Polish artists have actively taken part in the
Biennials since 1948.
Translated by Peter Martyn
16