DOI Artikel:
Juszczyk, Aleksandra: Konsolidacja środowiska artystycznego międzywojennej Gdyni: miejscowy oddział Związku Zawodowego Polskich Artystów Plastyków
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43438#0183
of the „Trade Union of Polish Artists” was a decisive protest against all manifestations
of nationalism in Polish art. The „Trade Union” was opposed to official art and patron-
age institutions, which inhibited the freedom of artistic expression (for example, the
Society for the Propagation of Polish Art Abroad). It was also critical of the Błock
of Professional Artists, a competition representation of professional artists in Poland.
The president of the Gdynia branch was Marian Szyszko-Bohusz, and a part of the
founding group were vice presidents: Jerzy Muller and Czesław Raczewski; secretary:
Zygmunt Cywiński: treasurer: Alexander Wysocki; members of the Audit Commit-
tee: Tadeusz Jędrzejewski and Tadeusz Feliks Smolarski. After the death of Czesław
Raczewski his position was taken over by Zygmunt Cywiński. Other members of the
„Trade Union” were, among others: Jerzy Kozłowski, Maria Zabłocka, Maksymilian
Kasprowicz, Jan Gasiński, Jacek Żuławski, and Hanna Jasińska-Żuławska.
In total, the Union had 16 real members: artists-painters (9), graphic artists (3),
decorators and sculptors (1), and architects (3). In addition, it also comprised several
„candidates”, including Gdynia s artists.
Opinions on Gdynia s „Trade Union” were different: the president of the Brother-
hood of St. Lukę Jan Zamoyski believed its members to be dilettantes without talent
(excluding Szyszko-Bohusz). A similar view on the Union was voiced by Artur Maria
Swinarski, who called it the „settee association”. Whereas Henryk Chudziński (who
was an opponent of Szyszko-Bohusz and Cywiński and, did not rank among enthusi-
asts of painting, to say the least) evaluated the importance of the Union on the cultural
map of the city.
Within the framework of the „Trade Union of Polish Artists” in Gdynia until the
outbreak of World War II about 16 exhibitions were displayed, both within the Spring
Exhibition and the Winter Exhibition; there were also individual art shows (e.g. works
of Marian Szyszko-Bohusz, Zygmunt Cywiński, Jan Gasiński, Czesław Raczewski,
Włodzimierz Dunin-Marcinkiewicz, Felix Smolarski, Aleksander Wysocki, Maria
Zabłocka, Czesław Raczewski, Ernest Raulin, Jacek Żuławski, Hanna Żuławska-
-Jasieńska, Józef Rogowski, Teodora Białokoz, Franciszek Błeszyński, Bogumił No-
wicki, Barbara Sielicka, Tadeusz Szpak, Leon Staniszewski, Thomas Ottokar, Barbara
Wilkicka, Barbara Wejhert). It is true that thanks to Cywiński and Szyszko-Bohusz,
artists were able to band together in a serious trade union and regularly present exhibi-
tions. It seems that the authorities of the „Union” were also efficient managers, taking
care of the financial interests of its artists.
Konsolidacja
środowiska
artystycznego...
of nationalism in Polish art. The „Trade Union” was opposed to official art and patron-
age institutions, which inhibited the freedom of artistic expression (for example, the
Society for the Propagation of Polish Art Abroad). It was also critical of the Błock
of Professional Artists, a competition representation of professional artists in Poland.
The president of the Gdynia branch was Marian Szyszko-Bohusz, and a part of the
founding group were vice presidents: Jerzy Muller and Czesław Raczewski; secretary:
Zygmunt Cywiński: treasurer: Alexander Wysocki; members of the Audit Commit-
tee: Tadeusz Jędrzejewski and Tadeusz Feliks Smolarski. After the death of Czesław
Raczewski his position was taken over by Zygmunt Cywiński. Other members of the
„Trade Union” were, among others: Jerzy Kozłowski, Maria Zabłocka, Maksymilian
Kasprowicz, Jan Gasiński, Jacek Żuławski, and Hanna Jasińska-Żuławska.
In total, the Union had 16 real members: artists-painters (9), graphic artists (3),
decorators and sculptors (1), and architects (3). In addition, it also comprised several
„candidates”, including Gdynia s artists.
Opinions on Gdynia s „Trade Union” were different: the president of the Brother-
hood of St. Lukę Jan Zamoyski believed its members to be dilettantes without talent
(excluding Szyszko-Bohusz). A similar view on the Union was voiced by Artur Maria
Swinarski, who called it the „settee association”. Whereas Henryk Chudziński (who
was an opponent of Szyszko-Bohusz and Cywiński and, did not rank among enthusi-
asts of painting, to say the least) evaluated the importance of the Union on the cultural
map of the city.
Within the framework of the „Trade Union of Polish Artists” in Gdynia until the
outbreak of World War II about 16 exhibitions were displayed, both within the Spring
Exhibition and the Winter Exhibition; there were also individual art shows (e.g. works
of Marian Szyszko-Bohusz, Zygmunt Cywiński, Jan Gasiński, Czesław Raczewski,
Włodzimierz Dunin-Marcinkiewicz, Felix Smolarski, Aleksander Wysocki, Maria
Zabłocka, Czesław Raczewski, Ernest Raulin, Jacek Żuławski, Hanna Żuławska-
-Jasieńska, Józef Rogowski, Teodora Białokoz, Franciszek Błeszyński, Bogumił No-
wicki, Barbara Sielicka, Tadeusz Szpak, Leon Staniszewski, Thomas Ottokar, Barbara
Wilkicka, Barbara Wejhert). It is true that thanks to Cywiński and Szyszko-Bohusz,
artists were able to band together in a serious trade union and regularly present exhibi-
tions. It seems that the authorities of the „Union” were also efficient managers, taking
care of the financial interests of its artists.
Konsolidacja
środowiska
artystycznego...