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DOI Artikel:Konstantynów, Dariusz: Polskie stowarzyszenia artystyczne w Wilnie lat 30. XX wieku
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.71010#0872
858
Dariusz Konstantynów
Polish Artistic Associations in Wilno in the 1930s
In the paper the history and activity of several
associations created among the Polish artistic circles
in Wilno in the 1930s are discussed; these including
the Wilno Society of Independent Artists (Wileńskie
Towarzystwo Niezależnych Artystów Sztuk Plas-
tycznych, 1930-40), Artistic Brotherhood (Bractwo
Artystyczne, 1929-33), Artistic Cooperative (Spół-
dzielnia Artystyczna, 1933-34), Cooperative of the
Wilno Artists (Spółdzielnia Pracy Artystów Wileń-
skich, 1937-39), 'Wilno Group' Society of Artists
(Towarzystwo Artystów Plastyków 'Grupa Wileń-
ska', 1937-39), as well as organizations whose goal
was to support the activity of artistic movements,
and the promotion of fine arts in society: 'Museum
of Contemporary Art in Wilno' Association (Sto-
warzyszenie 'Muzeum Sztuki Współczesnej w Wil-
nie', 1931-39), Council of Wilno Artistic Asso-
ciations (Rada Wileńskich Zrzeszeń Artystycznych
RWZA, 1932-39), and the Wilno Society for the
Promotion of Fine Arts (Wileńskie Towarzystwo
Szerzenia Kultury Sztuk Plastycznych, 1937-39).
The history ofthe Wilno associations established
in the 1930s by artists testifies to the fact that a
generational change had occurred among the artistic
circles there. Painters, sculptors, and graphic artists,
educated already at the Department of Fine Arts at
Stefan Batory University, whose career beginning
coincided with the tough years ofthe economic crisis,
organized themselves at the onset ofthe 1930s first of
all to facilitate overcoming their own career and
economic challenges. Such was the goal ofthe Artistic
Cooperative or the Cooperative of Wilno Artists. It
was only afterwards, in the late 1930s, that 'situational
groups', meant to assist artists in them gaining a
position among the artistic circles, appeared, these
including the 'Wilno Group' or the informal Team of
Wilno Artists (Zespół Artystów Wileńskich, 1939)
established with an exhibition in mind. Meanwhile,
the associations dealing with, among others,
organization of artistic life and taking care of art
should be regarded as attempts at establishing
institutionalized forms of collective patronage: social
'superior bodies' meant to support and coordinate,
and thus indirectly supervise activities undertaken by
artists themselves. In this respect the establishment of
RWZA was of particular impact; with the institution
becoming a model for similar organizations esta-
blished in 1934: the Toruń Council of Academic and
Cultural Associations of Pomerania (Rada Zrzeszeń
Naukowych i Kulturalnych Ziemi Pomorskiej), the
Poznań Union of Artistic and Cultural Associations
(Zrzeszenie Związków Artystycznych i Kultu-
ralnych), as well as the Bydgoszcz Artistic and
Cultural Council (Rada Artystyczno-Kulturalna).
Translated by Magdalena Iwińska
Dariusz Konstantynów
Polish Artistic Associations in Wilno in the 1930s
In the paper the history and activity of several
associations created among the Polish artistic circles
in Wilno in the 1930s are discussed; these including
the Wilno Society of Independent Artists (Wileńskie
Towarzystwo Niezależnych Artystów Sztuk Plas-
tycznych, 1930-40), Artistic Brotherhood (Bractwo
Artystyczne, 1929-33), Artistic Cooperative (Spół-
dzielnia Artystyczna, 1933-34), Cooperative of the
Wilno Artists (Spółdzielnia Pracy Artystów Wileń-
skich, 1937-39), 'Wilno Group' Society of Artists
(Towarzystwo Artystów Plastyków 'Grupa Wileń-
ska', 1937-39), as well as organizations whose goal
was to support the activity of artistic movements,
and the promotion of fine arts in society: 'Museum
of Contemporary Art in Wilno' Association (Sto-
warzyszenie 'Muzeum Sztuki Współczesnej w Wil-
nie', 1931-39), Council of Wilno Artistic Asso-
ciations (Rada Wileńskich Zrzeszeń Artystycznych
RWZA, 1932-39), and the Wilno Society for the
Promotion of Fine Arts (Wileńskie Towarzystwo
Szerzenia Kultury Sztuk Plastycznych, 1937-39).
The history ofthe Wilno associations established
in the 1930s by artists testifies to the fact that a
generational change had occurred among the artistic
circles there. Painters, sculptors, and graphic artists,
educated already at the Department of Fine Arts at
Stefan Batory University, whose career beginning
coincided with the tough years ofthe economic crisis,
organized themselves at the onset ofthe 1930s first of
all to facilitate overcoming their own career and
economic challenges. Such was the goal ofthe Artistic
Cooperative or the Cooperative of Wilno Artists. It
was only afterwards, in the late 1930s, that 'situational
groups', meant to assist artists in them gaining a
position among the artistic circles, appeared, these
including the 'Wilno Group' or the informal Team of
Wilno Artists (Zespół Artystów Wileńskich, 1939)
established with an exhibition in mind. Meanwhile,
the associations dealing with, among others,
organization of artistic life and taking care of art
should be regarded as attempts at establishing
institutionalized forms of collective patronage: social
'superior bodies' meant to support and coordinate,
and thus indirectly supervise activities undertaken by
artists themselves. In this respect the establishment of
RWZA was of particular impact; with the institution
becoming a model for similar organizations esta-
blished in 1934: the Toruń Council of Academic and
Cultural Associations of Pomerania (Rada Zrzeszeń
Naukowych i Kulturalnych Ziemi Pomorskiej), the
Poznań Union of Artistic and Cultural Associations
(Zrzeszenie Związków Artystycznych i Kultu-
ralnych), as well as the Bydgoszcz Artistic and
Cultural Council (Rada Artystyczno-Kulturalna).
Translated by Magdalena Iwińska