DOI Artikel:
Konstantynów, Dariusz: Wystawa Sztuki Estońskiej (Warszawa - Kraków 1939). Kontekst i recepcja
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43445#0207
maja 1939 r. nie było tylko zabiegiem retorycznym. Wiele wskazywało bowiem
wówczas na to, że panujący od dwudziestu lat okres „wolności i spokoju” nie-
uchronnie się kończy.
Exhibition of Estonian Art (Warsaw- Cracow 1939).
Context and Reception
The display of Estonian art held in Warsaw (Institute for the Propaganda of Art)
and Cracow (Society of Friends of Fine Arts) in April-May 1939 is discussed. The pre-
sentation of the exhibition in Poland was prepared at the instigation of its organizer,
namely the Estonian Culture Fund (Eesti Kultuurkapitali Kujutava Kunsti Sihtkapital).
However, the management of the Institute for the Propaganda of Art considered the
Estonian proposal as of little interest artistically, yet in view of the political impact of
the event the decision was changed. The political significance of the Estonian exhibition
stemmed from the endeavours of the country s authorities who, in view of the partition
of Czechoslovakia and the symptoms of the growing threat from the Soviet Union, were
seeking alliances meant to defend the States independence, sovereignty, and neutrality.
Within such an activity scheme already in the autumn of 1938 a visit of General Lai-
doner to Poland was planned, this meant to confirm good relations with the Republic
of Poland under the new political circumstances in Europę. The exhibition of Estonian
art (in early 1939 displayed in Romę and Budapest) was to add some splendour to the
weekś visit of the Estonian dignitary starting on 17 April 1939. Nonetheless, despite the
display rooms having been madę available by the Institute for the Propaganda of Art
already as of 15 April, thus allowing for the display s arrangement and the show to be
ready precisely at the time of Gen. Laidoner s visit to Warsaw, it had not been launched
before his arrival or during his stay. This does not undermine the fact that it was an
event which essentially helped manifest the invariably friendly relations between both
countries. Politically, the exhibition of Estonian art was at the time also important for
Poland. The annexation of Zaolzie was regarded as a breach of the European status quo
and sińce Estonians had considered Poland to be one of its guardians, the fact clearly
cooled the relations between the two countries. In view of this, the manifestation of
a friendly relationship with Estonia, to be unąuestionably seen in the exhibition, was
also desirable for Poland.
Prior to the openingofthe exhibition in 1939, Estonian art had been known in Poland
merely from publications: the book by Irena W. Kosmowska Estonia. The Country
and People (1930), Jan Brzechwas article “Fine Arts in Estonia” (1935), and the essay
by Leonhard Sooneberg, an Estonian historian and art critic, published in “Przegląd
Polsko-Fińsko-Estoński” (1938). The exhibition in Warsaw and Cracow was the first
and only presentation of the artistic output of Estonia in the early 20th century and it
contained 208 works by 76 artists. Polish art critics showed vivid interest in and approval
of the presented paintings, graphic works, and sculptures, which were almost unani-
mously regarded as the most interesting and valuable phenomena in Estonias contem-
porary art. Fhe numerous reviews emphasized first of all such issues as the exposing of
a national factor in art; the attitude to West European art; the latters impact on Estonian
national art; and the formula of the “new/modernized” realism. However, Estonian
Wystawa
Sztuki
Estońskiej...
201
wówczas na to, że panujący od dwudziestu lat okres „wolności i spokoju” nie-
uchronnie się kończy.
Exhibition of Estonian Art (Warsaw- Cracow 1939).
Context and Reception
The display of Estonian art held in Warsaw (Institute for the Propaganda of Art)
and Cracow (Society of Friends of Fine Arts) in April-May 1939 is discussed. The pre-
sentation of the exhibition in Poland was prepared at the instigation of its organizer,
namely the Estonian Culture Fund (Eesti Kultuurkapitali Kujutava Kunsti Sihtkapital).
However, the management of the Institute for the Propaganda of Art considered the
Estonian proposal as of little interest artistically, yet in view of the political impact of
the event the decision was changed. The political significance of the Estonian exhibition
stemmed from the endeavours of the country s authorities who, in view of the partition
of Czechoslovakia and the symptoms of the growing threat from the Soviet Union, were
seeking alliances meant to defend the States independence, sovereignty, and neutrality.
Within such an activity scheme already in the autumn of 1938 a visit of General Lai-
doner to Poland was planned, this meant to confirm good relations with the Republic
of Poland under the new political circumstances in Europę. The exhibition of Estonian
art (in early 1939 displayed in Romę and Budapest) was to add some splendour to the
weekś visit of the Estonian dignitary starting on 17 April 1939. Nonetheless, despite the
display rooms having been madę available by the Institute for the Propaganda of Art
already as of 15 April, thus allowing for the display s arrangement and the show to be
ready precisely at the time of Gen. Laidoner s visit to Warsaw, it had not been launched
before his arrival or during his stay. This does not undermine the fact that it was an
event which essentially helped manifest the invariably friendly relations between both
countries. Politically, the exhibition of Estonian art was at the time also important for
Poland. The annexation of Zaolzie was regarded as a breach of the European status quo
and sińce Estonians had considered Poland to be one of its guardians, the fact clearly
cooled the relations between the two countries. In view of this, the manifestation of
a friendly relationship with Estonia, to be unąuestionably seen in the exhibition, was
also desirable for Poland.
Prior to the openingofthe exhibition in 1939, Estonian art had been known in Poland
merely from publications: the book by Irena W. Kosmowska Estonia. The Country
and People (1930), Jan Brzechwas article “Fine Arts in Estonia” (1935), and the essay
by Leonhard Sooneberg, an Estonian historian and art critic, published in “Przegląd
Polsko-Fińsko-Estoński” (1938). The exhibition in Warsaw and Cracow was the first
and only presentation of the artistic output of Estonia in the early 20th century and it
contained 208 works by 76 artists. Polish art critics showed vivid interest in and approval
of the presented paintings, graphic works, and sculptures, which were almost unani-
mously regarded as the most interesting and valuable phenomena in Estonias contem-
porary art. Fhe numerous reviews emphasized first of all such issues as the exposing of
a national factor in art; the attitude to West European art; the latters impact on Estonian
national art; and the formula of the “new/modernized” realism. However, Estonian
Wystawa
Sztuki
Estońskiej...
201