DOI Heft:
Nr. 4
DOI Artikel:Luba, Iwona: Pałac Rządowy na Powszechnej Wystawie Krajowej w Poznaniu: propagandowa funkcja sztuki =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35030#0474
464
IWONA LUBA
referredto as 'Govemment Pałace' (Eo/oc7?ząc/owy).
In addition, the govemment was given the use of
eight separate pavi)ions. The state-initiated exhibition
covered dispłays prepared by the fołłowing
ministries: of Pubłic Works, łnterior Affairs, the
Treasury (with the quite separate State-Monopoły
Pavi)ion), the ministries of Labour and Sociał
Wełfare, Justice, Foreign Affairs, Anned Forces,
Rełigious Confessions and Pubłic Enłightenment,
Transport, Postał Services and Tełegraphs,
Agricułture, as wełł as Rura) Reform.
The group of wełł-known and reputed artists
empłoyed to prepare the attractive decor of the
Govemment Paiace represented as fołłows: the Army
(Antoni Miszewski, scułptor), the Association of the
Płastic Arts "Rytm" (Tadeusz Gronowski, Wacław
Wąsowicz, Jerzy Zaruba), as wełł as the group
"Praesens" (Barbara and Stanisław Brukałski, Kata-
rzyna Kobro, Karol Kryński, Bohdan Lachert, Marian
Małicki, Józef Małinowski, Maria Nicz-Borowiakowa,
Andrzej Pronaszko, Aleksander Rafałowski, Henryk
Stażewski, Władysław Strzemiński, Hełena and
Szymon Syrkus, Józef Szanajca). Each of these artists
was łinked to the Warsaw artistic /n/7mn, having in the
main had previous experience in the fiełds of pure or
appłied art, in carrying out designs for the
arrangement of interiors, as wełł as work on contract
reiating to commerciał advertising and previous
propaganda campaigns. The architect Jan Koszczyc
Witkiewicz took on the responsibiłity of overseeing
the overał! undertaking's cohesion.
The greatest attention from the government was
given to the representative interiors for the ministries
of the Anned Forces and Foreign Affairs. łn charge
of the armed forces expo' was Vice-Minister of the
said ministry, Division Generał Danieł Kona-
rzewski. The ideołogicał-cum-artistic concept for
both divisions was worked on in accordance with the
notion that the grand-power status and extensive ter-
ritoriał area of the pre-1795 "Res pubłica" had
been conąuered by means of 'unions' that the Połes
owed to briłłiant dipłomacy, as wełł as the specific
połiticał system of this country partitioned towards
the end of the ł700s. Emphasis was płaced on
Połand boasting centuries of statehood and thus
being part of the 'famiły' of European powers, of it
serving as a 'bułwark' of the West and of Roman
Cathołicism, which both concepts it had protected
with compłete dedication. This no łonger existent
Rgy y/rb/zco had gone to war in defence of its own
borders and those of what its ieaders defined as
Europę; its sons and daughters had heroicałły taken
part in insurgencies and fought on various fronts
during the first worłd war, while demonstrating a
łove of the father!and's freedom most recentły of ałl
in ł920 by going into battłe against Bołshevik-
controłłed Russia. Having regained independence in
1918, the Second Rgy ynb/zco possessed an army
intent on guarding peace and securing the new State's
security, devełoping at the same time its activity in
the reałms of culture, education, industry, buiłding
and so on.
The history of dipłomacy was pictured in
archiva! documents, occasionałły in an impressiveły
artistic setting. The history of Połish weaponry was
iliustrated by means of a selection of historie events
starting with the Battłe of Chocim (Khotyn, in Ukrai-
nę) in 1621, at which the army of Poland-Lithuania
with the aid of Ukrainian Cossacks had withhełd a
Turkish-Ottoman invasion (łarge-fonnat painting by
Stanisław Kaczor Batowski), and reaching as far as
the Kościuszko Uprising of 1794 (Scythe-bearers
praying before the Battłe of Racławice by Piotr
Stachiewicz), the battłes to regain independence
from the partitioning powers and the Połish-Soviet
War of 1919-1921. The most recent victorious
battłes rełating to regaining independence were
documented primariły by Antoni Miszewski's cycłe
of eight bas-rełiefs mounted into those sections of
the Hałl of Honour's wałłs dedicated to the Anny,
these being titłed: 7/7 t/m Ac/yf (Dowbo/nzyły), b/ /bg
łfgy/ (//77/0/7czyń.sj, Zgg/o/zy, Dę/enoe of Ub?77, 77zg
Upr/y/ng o/ JT/g/bopo/ybo and De/ence o/ Zmów
(Lemberg). This room was decorated above ałl with
scułpted portraits by the same artist of President
Mościcki and Marshał Józef Piłsudski. The figurę of
Piłsudski, portrayed a grand total of 47 times,
dominated the entire show put on by the government.
Excłuding that put on by the armed forces, it
seems that the łargest number of works of art to be
found in the whołe of the so-całłed Government
Pałace were taken up by the Ministry of Rełigious
Confessions and Enłightenment. It was through art
that the "MWRiOP", as the abbreviation goes in
Polish for the said ministry, no less than the
govemment itsełf, presented themsełves at the
exhibition in an attractive way beyond expression,
lending thereby the whołły fałse impression that
State patronage provided so much support for and
interest in Połish art.
7/Y//7,s7r//c<7 by Rg/gr T7o7*7j//7
IWONA LUBA
referredto as 'Govemment Pałace' (Eo/oc7?ząc/owy).
In addition, the govemment was given the use of
eight separate pavi)ions. The state-initiated exhibition
covered dispłays prepared by the fołłowing
ministries: of Pubłic Works, łnterior Affairs, the
Treasury (with the quite separate State-Monopoły
Pavi)ion), the ministries of Labour and Sociał
Wełfare, Justice, Foreign Affairs, Anned Forces,
Rełigious Confessions and Pubłic Enłightenment,
Transport, Postał Services and Tełegraphs,
Agricułture, as wełł as Rura) Reform.
The group of wełł-known and reputed artists
empłoyed to prepare the attractive decor of the
Govemment Paiace represented as fołłows: the Army
(Antoni Miszewski, scułptor), the Association of the
Płastic Arts "Rytm" (Tadeusz Gronowski, Wacław
Wąsowicz, Jerzy Zaruba), as wełł as the group
"Praesens" (Barbara and Stanisław Brukałski, Kata-
rzyna Kobro, Karol Kryński, Bohdan Lachert, Marian
Małicki, Józef Małinowski, Maria Nicz-Borowiakowa,
Andrzej Pronaszko, Aleksander Rafałowski, Henryk
Stażewski, Władysław Strzemiński, Hełena and
Szymon Syrkus, Józef Szanajca). Each of these artists
was łinked to the Warsaw artistic /n/7mn, having in the
main had previous experience in the fiełds of pure or
appłied art, in carrying out designs for the
arrangement of interiors, as wełł as work on contract
reiating to commerciał advertising and previous
propaganda campaigns. The architect Jan Koszczyc
Witkiewicz took on the responsibiłity of overseeing
the overał! undertaking's cohesion.
The greatest attention from the government was
given to the representative interiors for the ministries
of the Anned Forces and Foreign Affairs. łn charge
of the armed forces expo' was Vice-Minister of the
said ministry, Division Generał Danieł Kona-
rzewski. The ideołogicał-cum-artistic concept for
both divisions was worked on in accordance with the
notion that the grand-power status and extensive ter-
ritoriał area of the pre-1795 "Res pubłica" had
been conąuered by means of 'unions' that the Połes
owed to briłłiant dipłomacy, as wełł as the specific
połiticał system of this country partitioned towards
the end of the ł700s. Emphasis was płaced on
Połand boasting centuries of statehood and thus
being part of the 'famiły' of European powers, of it
serving as a 'bułwark' of the West and of Roman
Cathołicism, which both concepts it had protected
with compłete dedication. This no łonger existent
Rgy y/rb/zco had gone to war in defence of its own
borders and those of what its ieaders defined as
Europę; its sons and daughters had heroicałły taken
part in insurgencies and fought on various fronts
during the first worłd war, while demonstrating a
łove of the father!and's freedom most recentły of ałl
in ł920 by going into battłe against Bołshevik-
controłłed Russia. Having regained independence in
1918, the Second Rgy ynb/zco possessed an army
intent on guarding peace and securing the new State's
security, devełoping at the same time its activity in
the reałms of culture, education, industry, buiłding
and so on.
The history of dipłomacy was pictured in
archiva! documents, occasionałły in an impressiveły
artistic setting. The history of Połish weaponry was
iliustrated by means of a selection of historie events
starting with the Battłe of Chocim (Khotyn, in Ukrai-
nę) in 1621, at which the army of Poland-Lithuania
with the aid of Ukrainian Cossacks had withhełd a
Turkish-Ottoman invasion (łarge-fonnat painting by
Stanisław Kaczor Batowski), and reaching as far as
the Kościuszko Uprising of 1794 (Scythe-bearers
praying before the Battłe of Racławice by Piotr
Stachiewicz), the battłes to regain independence
from the partitioning powers and the Połish-Soviet
War of 1919-1921. The most recent victorious
battłes rełating to regaining independence were
documented primariły by Antoni Miszewski's cycłe
of eight bas-rełiefs mounted into those sections of
the Hałl of Honour's wałłs dedicated to the Anny,
these being titłed: 7/7 t/m Ac/yf (Dowbo/nzyły), b/ /bg
łfgy/ (//77/0/7czyń.sj, Zgg/o/zy, Dę/enoe of Ub?77, 77zg
Upr/y/ng o/ JT/g/bopo/ybo and De/ence o/ Zmów
(Lemberg). This room was decorated above ałl with
scułpted portraits by the same artist of President
Mościcki and Marshał Józef Piłsudski. The figurę of
Piłsudski, portrayed a grand total of 47 times,
dominated the entire show put on by the government.
Excłuding that put on by the armed forces, it
seems that the łargest number of works of art to be
found in the whołe of the so-całłed Government
Pałace were taken up by the Ministry of Rełigious
Confessions and Enłightenment. It was through art
that the "MWRiOP", as the abbreviation goes in
Polish for the said ministry, no less than the
govemment itsełf, presented themsełves at the
exhibition in an attractive way beyond expression,
lending thereby the whołły fałse impression that
State patronage provided so much support for and
interest in Połish art.
7/Y//7,s7r//c<7 by Rg/gr T7o7*7j//7