DOI Heft:
Nr. 4
DOI Artikel:Artykuły
DOI Artikel:Wójcik, Agata: Towarzystwo Polska Sztuka Stosowana i odnowa polskiego projektowania graficznego początku XX wieku*
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.71008#0663
Towarzystwo Polska Sztuka Stosowana
649
Polish Applied Arts Society and Renewal of Polish
Graphic Design in the Early 20th Century
The influence of the Polish Applied Arts Society
(TPSS), active in 1901-13, on Polish graphic design
is discussed. The goal of the Kraków TPSS was to
"promote passion for Polish applied arts, facilitate
their development, and introduce them into industry".
One of the branches of the Society's activity was to
support typography, as TPSS were very particular
about the artistic and technical quality of all of their
own prints (exhibition posters and catalogues, graphic
layout of their publications, membership tickets,
postcards, etc.), and held contests for designs of
posters, logos, bookplates commissioned by social,
cultural, and commercial institutions. It was thanks to
TPPS that Karol Frycz, Józef Czajkowski, Edward
Trojanowski, Franciszek Bruzdowicz, Kazimierz
Brzozowski, Henryk Uziemblo, Antoni Procajłowicz,
Jan Bukowski and many others had an opportunity to
implement their designs. TPSS displayed their
accomplishments in graphic design in exhibitions
organized in Kraków in 1902 and 1903, as well as in
Warsaw in 1902 and 1908. What turned to be
extremely successful was the Kraków typography
exhibition in 1904, held by the Society in
cooperation with Krakow's National Museum. Its
goal was to: "present the degree of artistry in Polish
contemporary typography, emphasize the aspiration
to give Polish typography works a unique character,
and give an overview of the artistic application of
native motifs". TPSS established cooperation with
Kraków printing houses of Anczyc, Jagiellonian
University, Władysław Teodorczuk, National Printing
House, as well as those of Marchlewski in Munich
and Piotr Laskauer in Warsaw. Moreover, the Society
had their own lithography workshop that graphic
artists used for artistic experiments. They also
purchased a lithography press, stones, paints, and
paper from the heirs of Czesław Ciosłowski and
placed them in the edifice of the Society of Friends
of Fine Arts. Eventually the TPSS "graphic station"
ended up at the Academy of Fine Arts.
Translated by Magdalena Iwińska
649
Polish Applied Arts Society and Renewal of Polish
Graphic Design in the Early 20th Century
The influence of the Polish Applied Arts Society
(TPSS), active in 1901-13, on Polish graphic design
is discussed. The goal of the Kraków TPSS was to
"promote passion for Polish applied arts, facilitate
their development, and introduce them into industry".
One of the branches of the Society's activity was to
support typography, as TPSS were very particular
about the artistic and technical quality of all of their
own prints (exhibition posters and catalogues, graphic
layout of their publications, membership tickets,
postcards, etc.), and held contests for designs of
posters, logos, bookplates commissioned by social,
cultural, and commercial institutions. It was thanks to
TPPS that Karol Frycz, Józef Czajkowski, Edward
Trojanowski, Franciszek Bruzdowicz, Kazimierz
Brzozowski, Henryk Uziemblo, Antoni Procajłowicz,
Jan Bukowski and many others had an opportunity to
implement their designs. TPSS displayed their
accomplishments in graphic design in exhibitions
organized in Kraków in 1902 and 1903, as well as in
Warsaw in 1902 and 1908. What turned to be
extremely successful was the Kraków typography
exhibition in 1904, held by the Society in
cooperation with Krakow's National Museum. Its
goal was to: "present the degree of artistry in Polish
contemporary typography, emphasize the aspiration
to give Polish typography works a unique character,
and give an overview of the artistic application of
native motifs". TPSS established cooperation with
Kraków printing houses of Anczyc, Jagiellonian
University, Władysław Teodorczuk, National Printing
House, as well as those of Marchlewski in Munich
and Piotr Laskauer in Warsaw. Moreover, the Society
had their own lithography workshop that graphic
artists used for artistic experiments. They also
purchased a lithography press, stones, paints, and
paper from the heirs of Czesław Ciosłowski and
placed them in the edifice of the Society of Friends
of Fine Arts. Eventually the TPSS "graphic station"
ended up at the Academy of Fine Arts.
Translated by Magdalena Iwińska