DOI issue:
Nr. 1-2
DOI article:Artykuły
DOI article:Szablowska, Anna Agnieszka: Tadeusz Gronowski / Różne wcielenia art déco
DOI Page / Citation link:https://doi.org/10.11588/diglit.48914#0106
ANNA SZABŁOWSKA
the Parisian fashion periodical "Gazette du Bon Ton".
Also involved in illustrating "Pani" were members ofthe
group "Rytm" ("Rhythm") with which Gronowski was
loosely affiliated, especially in the field of applied
graphics. In his interior designs from the 1930s for such
elegant Warsaw commercial establishments as the
Plutos shop and tearoom or Langner's confectioner's
shop and restaurant he combined a deep and persona!
tendency towards decorativeness with functionalism.
Gronowski's furniture from the 1940s was inspired by
the French cabinet-maker Eniile Jaques Ruhlmann
(1879-1933), a leading representative of French Art
Deco in furniture design. A collection of unique objects
has been preserved in Gronowski's workshop.
Art Deco remained a living part of the artist’s
creative work even after the Second World War, this
being clearly reflected in his designs coming from the
1950s and 1960s, the most important of which belong
to his elements of interior design for the Warsaw Opera
House. In this case, delayed traits of the Art Deco style
underwent monumentalisation in accordance with
socialist-realist ideology.
Gronowski's later painting represents a superb
statement of his generał artistic principles in relation to
the decorative aspect of art. It appears to balance on the
border of poster art and "pure" painting. His pictures
constitute the carrying of Art Deco experiences into
abstractive painting. As in all his art, Gronowski's
paintings are full of a taste for eclectism. He reached for
experiences in Cubism, geometrie abstraction
corresponding with the visual solutions ofop-art, as well
as a surrealism influenced by classicism.
Translated by Peter Martyn
96
the Parisian fashion periodical "Gazette du Bon Ton".
Also involved in illustrating "Pani" were members ofthe
group "Rytm" ("Rhythm") with which Gronowski was
loosely affiliated, especially in the field of applied
graphics. In his interior designs from the 1930s for such
elegant Warsaw commercial establishments as the
Plutos shop and tearoom or Langner's confectioner's
shop and restaurant he combined a deep and persona!
tendency towards decorativeness with functionalism.
Gronowski's furniture from the 1940s was inspired by
the French cabinet-maker Eniile Jaques Ruhlmann
(1879-1933), a leading representative of French Art
Deco in furniture design. A collection of unique objects
has been preserved in Gronowski's workshop.
Art Deco remained a living part of the artist’s
creative work even after the Second World War, this
being clearly reflected in his designs coming from the
1950s and 1960s, the most important of which belong
to his elements of interior design for the Warsaw Opera
House. In this case, delayed traits of the Art Deco style
underwent monumentalisation in accordance with
socialist-realist ideology.
Gronowski's later painting represents a superb
statement of his generał artistic principles in relation to
the decorative aspect of art. It appears to balance on the
border of poster art and "pure" painting. His pictures
constitute the carrying of Art Deco experiences into
abstractive painting. As in all his art, Gronowski's
paintings are full of a taste for eclectism. He reached for
experiences in Cubism, geometrie abstraction
corresponding with the visual solutions ofop-art, as well
as a surrealism influenced by classicism.
Translated by Peter Martyn
96