DOI Artikel:
Jarosz, Izabela: Powrót do tendencji formalnych w polskim piśmiennictwie o ogrodach na tle przemian w sztuce ogrodowej wybranych krajów Europy Zachodniej i Ameryki Pólknocnej
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19070#0166
a house and combining these two elements into a homogeneous whole. In the 1920s the
already-developed form of a regular garden which was also to perform utilitarian func-
tions, providing fruit and vegetables, was markedly influenced by decorative art. The
designs presented in 1925 at the International Exhibition of the Decorative Arts in Paris
simply turned gardens into the embellishment of architecture, into externalization of the
decoration of a fiat. The idea of a garden as an extension of a house appeared in Poland
early in the 20lh century, but it enjoyed its greatest popularity in the interwar period. In a
description of the plan of a modern regular home garden a reference was made above all
to English patterns, popularized by Muthesius, which were characterized by simplicity
and functionality. Similarly as a public park, a home garden was expected to be first of
all useful, serving the inhabitants as an open-air playground and recreation area, but also
supplying fruit and vegetables. Furthermore, the Paris exhibition proved to be extremely
important to the garden art of that period, as it contributed to the enrichment of the deco-
ration of gardens and to an interest in new media. In addition to the geometrization of a
plan, various constructional solutions were applied with increasing freąuency, thereby the
entire layout gradually becoming a three-dimensional work of architecture rather than
garden art.
A return to formal tendencies in Polish garden art began in the 19lh century, but it
reached its peak as late as the 1920s and 1930s. Thus it was rather late that the modern
idea of modelling naturę according to architectural rules gained generał recognition.
Besides, we can hardly speak about a significant contribution of Polish garden art to the
development of a new architectural garden, as the changes occurring then were for the
most part the effect of the impact of foreign trends in gardening. What underlay gardens
of new types, private as well as public, was a change in the function that they had hitherto
fulfilled. Although a garden acąuired a new purpose as early as the second half of the 19th
century, its form remained unchanged. A new garden whose form followed architectural
principles did not appear until the 20th century.
156
already-developed form of a regular garden which was also to perform utilitarian func-
tions, providing fruit and vegetables, was markedly influenced by decorative art. The
designs presented in 1925 at the International Exhibition of the Decorative Arts in Paris
simply turned gardens into the embellishment of architecture, into externalization of the
decoration of a fiat. The idea of a garden as an extension of a house appeared in Poland
early in the 20lh century, but it enjoyed its greatest popularity in the interwar period. In a
description of the plan of a modern regular home garden a reference was made above all
to English patterns, popularized by Muthesius, which were characterized by simplicity
and functionality. Similarly as a public park, a home garden was expected to be first of
all useful, serving the inhabitants as an open-air playground and recreation area, but also
supplying fruit and vegetables. Furthermore, the Paris exhibition proved to be extremely
important to the garden art of that period, as it contributed to the enrichment of the deco-
ration of gardens and to an interest in new media. In addition to the geometrization of a
plan, various constructional solutions were applied with increasing freąuency, thereby the
entire layout gradually becoming a three-dimensional work of architecture rather than
garden art.
A return to formal tendencies in Polish garden art began in the 19lh century, but it
reached its peak as late as the 1920s and 1930s. Thus it was rather late that the modern
idea of modelling naturę according to architectural rules gained generał recognition.
Besides, we can hardly speak about a significant contribution of Polish garden art to the
development of a new architectural garden, as the changes occurring then were for the
most part the effect of the impact of foreign trends in gardening. What underlay gardens
of new types, private as well as public, was a change in the function that they had hitherto
fulfilled. Although a garden acąuired a new purpose as early as the second half of the 19th
century, its form remained unchanged. A new garden whose form followed architectural
principles did not appear until the 20th century.
156