DOI Artikel:
Wójcik, Agata: „Myśl artystyczna”, która przeniknęła do „knajp”: Wnętrza restauracyjne w Starym Teatrze w Krakowie projektu artystów związanych z Towarzystwem Polska Sztuka Stosowana
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.44918#0144
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■a o
9. Eugeniusz Dąbrowa-
-Dąbrowski, restaurant
room in the Stary Teatr in
Kraków, photo from the
collections of the Cabinet of
Engravings of the Academy
of Fine Arts in Kraków.
10. Eugeniusz Dąbrowa-
-Dąbrowski, kilim tapestries
from the restaurant room in
the Stary Teatr in Kraków,
photo from the collections
of the Cabinet of Engravings
of the Academy of Fine Arts
in Kraków.
11. Eugeniusz Dąbrowa-
-Dąbrowski, armchair from
the restaurant room in
the Stary Teatr in Kraków,
photo from the collections
of the Cabinet of Engravings
of the Academy of Fine Arts
in Kraków.
-> see p.129
142
source in folk art. In the decoration of the backs of the chairs and in the armrests,
he madę use of decorations borrowed from cut-outs, whereas in in the sideboards
and in the cabinet frames there were references to elements of folk-style furniture,
battens finished with a bottom raił with alternating serration and undulating linę,
as well as S-shaped fittings. The buffet hall has gained an interesting polychrome
painting. Tchaikovsky turned it into a gazebo - sonie of the walls were painted green,
and others were decorated with a lattice with oval openings; in its upper part and
above, creeping woodbine in autumn colours, and peacocks perched amongst it.13
Eugeniusz Dąbrowa-Dąbrowski designed two rooms - one located in the first
floor, the other in the second (see: Fig. 9-11). This is how the “Czas” newspaper
described them: “Two rooms by Mr. Dąbrowa, one red, and the other yellow, leave
an impression of light and mirth. Everything in them is tuned to a common chord:
the friezes, the kilim rugs, the upholstery and the sycamore furniture, covered with
bright materials. It was clearly a most fortunate idea to hang two mirrors opposite
each other, which extended the slim sized room by adding a far-reaching perspec-
tive.”14 The room in the first floor could be called “yellow”. Walls were painted in
this colour, and also the frieze had yellow-golden tones; the kilim tapestries were
yellow and so were the drapes in the Windows and the curtain in the door; also the
upholstery on the furniture was yellow. By the same token, the room in the second
floor should be called “red”. Its walls were grey, the panelling and the frieze were
kept in red-blue-golden colours, the kilim rugs were red, and the furniture was also
varnished in this colour, while the upholstery fabric was green-grey. Unfortunately,
only one photograph of one of the rooms survived, most probably the one in the
second floor. It can be assumed that both rooms were designed in a similar way,
but they were different in their colour tones. Dąbrowa had to deal with arranging
very narrow rooms that would only fit one table, a sofa and four armchairs, with
some space left by the door for a wardrobe hanger. In order to visually expand
this smali space, the designer hung two rectangular mirrors facing each other. The
furniture designed by Dąbrowa, particularly in comparison to other designs for the
Stary Teatr, had extremely simple forms, which you could cali modernist. The artist
rejected any ornaments, focusing on the forms of the furniture pieces instead; and
he created the latter using the simplest of shapes. An example can be seen in the
armchairs, with rectangular forms in the backrest, the seat, and the space under
the armrests. Dąbrowa softened the straight corners only slightly, with delicate
arches that appear at the corners of the backrest frame and at the connection of
the armrest with the support and the side frame of the backrest. The sofas with
built-in armrests were designed in a similar manner. The geometrie form of the
furniture and the lack of ornamentation link Dąbrowas furniture with the designs
by Koloman Moser and Josef Hoffmann or other representatives of the “Quadratstil”.
Simplicity is contrasted with lush decorations inspired by folk art. The frieze was
composed of alternating stylized peacock feathers and flower buds with stamens.
Kilim tapestries that hung in the doors and Windows were decorated with motifs
of symmetrical branches.15
13 Stary Teatr, pp. 1-2; Restauracya w Starym Teatrze w Krakowie, “Architekt”, 1907, issue 4,
pp. 79-82.
14 Stary Teatr, pp. 1-2.
15 Ibidem.
ARTICLES
Agata Wójcik
■a o
9. Eugeniusz Dąbrowa-
-Dąbrowski, restaurant
room in the Stary Teatr in
Kraków, photo from the
collections of the Cabinet of
Engravings of the Academy
of Fine Arts in Kraków.
10. Eugeniusz Dąbrowa-
-Dąbrowski, kilim tapestries
from the restaurant room in
the Stary Teatr in Kraków,
photo from the collections
of the Cabinet of Engravings
of the Academy of Fine Arts
in Kraków.
11. Eugeniusz Dąbrowa-
-Dąbrowski, armchair from
the restaurant room in
the Stary Teatr in Kraków,
photo from the collections
of the Cabinet of Engravings
of the Academy of Fine Arts
in Kraków.
-> see p.129
142
source in folk art. In the decoration of the backs of the chairs and in the armrests,
he madę use of decorations borrowed from cut-outs, whereas in in the sideboards
and in the cabinet frames there were references to elements of folk-style furniture,
battens finished with a bottom raił with alternating serration and undulating linę,
as well as S-shaped fittings. The buffet hall has gained an interesting polychrome
painting. Tchaikovsky turned it into a gazebo - sonie of the walls were painted green,
and others were decorated with a lattice with oval openings; in its upper part and
above, creeping woodbine in autumn colours, and peacocks perched amongst it.13
Eugeniusz Dąbrowa-Dąbrowski designed two rooms - one located in the first
floor, the other in the second (see: Fig. 9-11). This is how the “Czas” newspaper
described them: “Two rooms by Mr. Dąbrowa, one red, and the other yellow, leave
an impression of light and mirth. Everything in them is tuned to a common chord:
the friezes, the kilim rugs, the upholstery and the sycamore furniture, covered with
bright materials. It was clearly a most fortunate idea to hang two mirrors opposite
each other, which extended the slim sized room by adding a far-reaching perspec-
tive.”14 The room in the first floor could be called “yellow”. Walls were painted in
this colour, and also the frieze had yellow-golden tones; the kilim tapestries were
yellow and so were the drapes in the Windows and the curtain in the door; also the
upholstery on the furniture was yellow. By the same token, the room in the second
floor should be called “red”. Its walls were grey, the panelling and the frieze were
kept in red-blue-golden colours, the kilim rugs were red, and the furniture was also
varnished in this colour, while the upholstery fabric was green-grey. Unfortunately,
only one photograph of one of the rooms survived, most probably the one in the
second floor. It can be assumed that both rooms were designed in a similar way,
but they were different in their colour tones. Dąbrowa had to deal with arranging
very narrow rooms that would only fit one table, a sofa and four armchairs, with
some space left by the door for a wardrobe hanger. In order to visually expand
this smali space, the designer hung two rectangular mirrors facing each other. The
furniture designed by Dąbrowa, particularly in comparison to other designs for the
Stary Teatr, had extremely simple forms, which you could cali modernist. The artist
rejected any ornaments, focusing on the forms of the furniture pieces instead; and
he created the latter using the simplest of shapes. An example can be seen in the
armchairs, with rectangular forms in the backrest, the seat, and the space under
the armrests. Dąbrowa softened the straight corners only slightly, with delicate
arches that appear at the corners of the backrest frame and at the connection of
the armrest with the support and the side frame of the backrest. The sofas with
built-in armrests were designed in a similar manner. The geometrie form of the
furniture and the lack of ornamentation link Dąbrowas furniture with the designs
by Koloman Moser and Josef Hoffmann or other representatives of the “Quadratstil”.
Simplicity is contrasted with lush decorations inspired by folk art. The frieze was
composed of alternating stylized peacock feathers and flower buds with stamens.
Kilim tapestries that hung in the doors and Windows were decorated with motifs
of symmetrical branches.15
13 Stary Teatr, pp. 1-2; Restauracya w Starym Teatrze w Krakowie, “Architekt”, 1907, issue 4,
pp. 79-82.
14 Stary Teatr, pp. 1-2.
15 Ibidem.
ARTICLES
Agata Wójcik