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DOI Artikel:Goldman, Izabela: Kilimy Józefa Mehoffera: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35030#0408
400
IZABELA GOLDMAN
77^
Antonina Sikorska, a iocaliy weil-known social
activist and initiator of the Kilim Workshop at
Czernichów near Cracow, became a resident of
Marcinkowice in the 1920s. Today, the former
manor house in this vil!age situated near Nowy Sącz
houses the Schooi Museum of History where, among
its numerous exhibits previously unpubiished ietters
are to be found connected with the Workshop;
inciuding those written by Karot Tichy, Stanisław
Wyspiański and Józef Mehoffer.
The ietter by Mehoffer concems kihms the artist
had himsetf designed with a specific exhibition in
mind that was hetd at Munich. In June 1905, the
Association of Potish Artists "Sztuka" ('ArT) took
part in this, the Ninth Internationa! Art Exhibition in
the city's Gtaspatast, and Mehoffer was given the
task of designing the artistic embehishments and
tayout of the exhibition rooms assigned to them. The
artist designed an effective arrangement of the
Potish exhibition, this being an exampte of his way
of responding to the postułation of complete
harmony in a given work and hohstic treatment when
organising interiors.
The Potish room was intended to evoke the
atmosphere of a veranda at summertime, hence the
idea of mood-inducing tights, ftower arrangements
and compositions using kihms disptaying ftorat
motifs, of which two featured styhsed dahtias and
butterfties.
The source of Mehoffer's interest in artistic
weaving might have originated from the postutations
and activities of the association Polska Sztuka
Stosowana (Potish Apptied Art), set up in Cracow
on 8th June 190t. The artist became invotved with
the association from the very outset and was madę a
member of its board of directors in October of the
same year. Among other things, the association,
basing its work on folk art, aimed to achieve a rebirth
of Polish arts and crafts and thereby create a new
style that was intended to be distinguishabty natio-
nat in character.
7. P/zezzzozzor/zozz^eazzz/ AwAs' e/zo/et' be/ozzyzzzy to
t/ze ot A/arczzzłowzce zzz t/m 7929.s*
2. ExAz'bztzozz o/" t/ze Po/A/z A^oczrztzozz o/" HrtAA
".SztzzAz" at Afzrnzc/z za 7995
5. Pz/zzzz by ATeńo/jter
4. Aatoazaa ózAarsAa s*zzrrozzzzJe<7 by /zer ya/a/s*,'
wearezis' /rozzz t/ze AzYzzzz wazAs/zoy at Czerzzzcbbw
5. Coyy o/'t/ze /z/rst yage o/*ATebo^ez^ źy /ettez^ to A.
.SJłozisAa
One of the outcomes of the association's stogans
demanding the estabhshing of schools and workshops
devoted to the arts and crafts was to confer its artistic
patronage on the Kilim Workshop at Czernichów. In
this way, the kihms produced there became an essen-
tiat element in bringing about the unified and
hannonious interiors of'Young Poland' through their
eminentty vemacutar artistic expression. The
designing of kihms was taken up by leading Potish
artists, and the work produced during the period
1901-19H was entrusted mainty to Czernichów
workshops.
Antonina Sikorska had founded the kilim
workshop at Czernichów at the end of the 1890s,
conducted initialły as a modest schooi for handmade
products as part of complementary teaming at the
fotk schooi where pupils produced kihms based on
folk pattems from Eastem Małopolska and
surrounding regions and motifs taken from gold
sashes, as well as miniaturę kihms according to their
own design. From the moment Sikorska's initiative
was taken up by Polish Applied Art in 1901 the
kihms from Czernichów were being created largely
in accordance with pattems supplied by the artists
linked to the association. In their search for a Polish
national style, the artists willingly drew inspiration
from motifs borrowed from vemacular peasant art,
inciuding those Czernichów kihms that stood out for
their innovatory stylisation, and so initiating a new
type of kilim. The effect of this cooperation between
Antonina Sikorska's workshops and the artists
associated with Polska Sztuka Stosowana was also
to raise kilim weaving to the status of a handicraft.
The Kilim by Józef Mehoffer exhibited at the
Munich exhibition provides an example of the new
approach in arts-and-crafts weaving. The artisfs Ietter
discussing the difhculties arising from selecting the
right colours of wool for the kilim serves as evidence
of his cooperation with Antonina Sikorska's
workshop, while referring at the same time to a little-
known aspect of Mehoffer's artistic work.
7Azzz.s7oter7 by Peter APzzpoz
5. Coyy o/"t/ze yecozzr/yrzye o/*.7. Mebo/fer .7 /etter to
A. Azboryba
Acknowledgements:
Phot. from collections of the Marcinkowice Schooi
Museum of History: 1, 5, 6;
Phot. Tygodnik Ilustrowany, nr 28, 1905, s. 526: 2
Phot. by Łukasz Dobrzański, from the museum
collections at Marcinkowice: 4
IZABELA GOLDMAN
77^
Antonina Sikorska, a iocaliy weil-known social
activist and initiator of the Kilim Workshop at
Czernichów near Cracow, became a resident of
Marcinkowice in the 1920s. Today, the former
manor house in this vil!age situated near Nowy Sącz
houses the Schooi Museum of History where, among
its numerous exhibits previously unpubiished ietters
are to be found connected with the Workshop;
inciuding those written by Karot Tichy, Stanisław
Wyspiański and Józef Mehoffer.
The ietter by Mehoffer concems kihms the artist
had himsetf designed with a specific exhibition in
mind that was hetd at Munich. In June 1905, the
Association of Potish Artists "Sztuka" ('ArT) took
part in this, the Ninth Internationa! Art Exhibition in
the city's Gtaspatast, and Mehoffer was given the
task of designing the artistic embehishments and
tayout of the exhibition rooms assigned to them. The
artist designed an effective arrangement of the
Potish exhibition, this being an exampte of his way
of responding to the postułation of complete
harmony in a given work and hohstic treatment when
organising interiors.
The Potish room was intended to evoke the
atmosphere of a veranda at summertime, hence the
idea of mood-inducing tights, ftower arrangements
and compositions using kihms disptaying ftorat
motifs, of which two featured styhsed dahtias and
butterfties.
The source of Mehoffer's interest in artistic
weaving might have originated from the postutations
and activities of the association Polska Sztuka
Stosowana (Potish Apptied Art), set up in Cracow
on 8th June 190t. The artist became invotved with
the association from the very outset and was madę a
member of its board of directors in October of the
same year. Among other things, the association,
basing its work on folk art, aimed to achieve a rebirth
of Polish arts and crafts and thereby create a new
style that was intended to be distinguishabty natio-
nat in character.
7. P/zezzzozzor/zozz^eazzz/ AwAs' e/zo/et' be/ozzyzzzy to
t/ze ot A/arczzzłowzce zzz t/m 7929.s*
2. ExAz'bztzozz o/" t/ze Po/A/z A^oczrztzozz o/" HrtAA
".SztzzAz" at Afzrnzc/z za 7995
5. Pz/zzzz by ATeńo/jter
4. Aatoazaa ózAarsAa s*zzrrozzzzJe<7 by /zer ya/a/s*,'
wearezis' /rozzz t/ze AzYzzzz wazAs/zoy at Czerzzzcbbw
5. Coyy o/'t/ze /z/rst yage o/*ATebo^ez^ źy /ettez^ to A.
.SJłozisAa
One of the outcomes of the association's stogans
demanding the estabhshing of schools and workshops
devoted to the arts and crafts was to confer its artistic
patronage on the Kilim Workshop at Czernichów. In
this way, the kihms produced there became an essen-
tiat element in bringing about the unified and
hannonious interiors of'Young Poland' through their
eminentty vemacutar artistic expression. The
designing of kihms was taken up by leading Potish
artists, and the work produced during the period
1901-19H was entrusted mainty to Czernichów
workshops.
Antonina Sikorska had founded the kilim
workshop at Czernichów at the end of the 1890s,
conducted initialły as a modest schooi for handmade
products as part of complementary teaming at the
fotk schooi where pupils produced kihms based on
folk pattems from Eastem Małopolska and
surrounding regions and motifs taken from gold
sashes, as well as miniaturę kihms according to their
own design. From the moment Sikorska's initiative
was taken up by Polish Applied Art in 1901 the
kihms from Czernichów were being created largely
in accordance with pattems supplied by the artists
linked to the association. In their search for a Polish
national style, the artists willingly drew inspiration
from motifs borrowed from vemacular peasant art,
inciuding those Czernichów kihms that stood out for
their innovatory stylisation, and so initiating a new
type of kilim. The effect of this cooperation between
Antonina Sikorska's workshops and the artists
associated with Polska Sztuka Stosowana was also
to raise kilim weaving to the status of a handicraft.
The Kilim by Józef Mehoffer exhibited at the
Munich exhibition provides an example of the new
approach in arts-and-crafts weaving. The artisfs Ietter
discussing the difhculties arising from selecting the
right colours of wool for the kilim serves as evidence
of his cooperation with Antonina Sikorska's
workshop, while referring at the same time to a little-
known aspect of Mehoffer's artistic work.
7Azzz.s7oter7 by Peter APzzpoz
5. Coyy o/"t/ze yecozzr/yrzye o/*.7. Mebo/fer .7 /etter to
A. Azboryba
Acknowledgements:
Phot. from collections of the Marcinkowice Schooi
Museum of History: 1, 5, 6;
Phot. Tygodnik Ilustrowany, nr 28, 1905, s. 526: 2
Phot. by Łukasz Dobrzański, from the museum
collections at Marcinkowice: 4