DOI Heft:
Nr. 4
DOI Artikel:Konstantynów, Dariusz: "Gmach dziesięciolecia sztuki polskiej": Pałac Sztuki na Powszechnej Wystawie Krajowej w Poznaniu =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35030#0510
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DARIUSZ KONSTANTYNÓW
contrary, it served to consotidate the pre-existing
divisions and upheld pre-estab)ished evaluations.
It shouid, however, be remembered that the idea
behind arranging such a display was not to create
an image for Polish art but rather an objective
presentation of its State and character at that time.
The exhibition prepared under Pruszkowskie
direction, riddled in actual fact with serious
omissions, difhcult in places to decipher and
chaotic, provided a suitable base for the forming of
the morę generalised kind of opinion both on art in
itself and the conditions of its deyelopment in an in-
dependent Poland.
As might be presupposed, the Pałace of Art was
intended to be not merely a manifestation of the
artists and architects of the Second Polish Republic
but equally an argument convincing in the high rank
and meaning of artistic creativity for society and
State, in order to emphasise how not only economic
achievements or the advance of civilisation are of
importance, but equally the development of the
cultural spirit of 'nation', the expression and
measure of which is art.
The supreme rulers of a recreated Poland self-
evidently lacked this level of awareness, the clearest
proof of which was provided by the failure of
president Ignacy Mościcki to so much as visit the
Pałace of Art on the opening day when he was led on
a conducted visit to at least thirteen other pavilions.
It was precisely this problem - the disinterest in art
at govemment leveł and recognition of the need to
organise a both efficiently and effectively operating
system of State patronage, that became one of the
most important motifs in discussion on the condition
of art and the artist during the 1930s. One of the most
active participants in this discussion was to be
Tadeusz Pruszkowski, the organiser of the so-called
Pałace of Art at the All-Poland Exhibition at Poznań.
DARIUSZ KONSTANTYNÓW
contrary, it served to consotidate the pre-existing
divisions and upheld pre-estab)ished evaluations.
It shouid, however, be remembered that the idea
behind arranging such a display was not to create
an image for Polish art but rather an objective
presentation of its State and character at that time.
The exhibition prepared under Pruszkowskie
direction, riddled in actual fact with serious
omissions, difhcult in places to decipher and
chaotic, provided a suitable base for the forming of
the morę generalised kind of opinion both on art in
itself and the conditions of its deyelopment in an in-
dependent Poland.
As might be presupposed, the Pałace of Art was
intended to be not merely a manifestation of the
artists and architects of the Second Polish Republic
but equally an argument convincing in the high rank
and meaning of artistic creativity for society and
State, in order to emphasise how not only economic
achievements or the advance of civilisation are of
importance, but equally the development of the
cultural spirit of 'nation', the expression and
measure of which is art.
The supreme rulers of a recreated Poland self-
evidently lacked this level of awareness, the clearest
proof of which was provided by the failure of
president Ignacy Mościcki to so much as visit the
Pałace of Art on the opening day when he was led on
a conducted visit to at least thirteen other pavilions.
It was precisely this problem - the disinterest in art
at govemment leveł and recognition of the need to
organise a both efficiently and effectively operating
system of State patronage, that became one of the
most important motifs in discussion on the condition
of art and the artist during the 1930s. One of the most
active participants in this discussion was to be
Tadeusz Pruszkowski, the organiser of the so-called
Pałace of Art at the All-Poland Exhibition at Poznań.