DOI Artikel:
Sienkiewicz, Jan Wiktor: Zmierzch polskich galerii sztuki w XX-wiecznym Londynie
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.27559#0302
300
JAN WIKTOR SIENKIEWICZ
19. Polski Ośrodek Społeczno-Kulturalny, 238-246 King Street, Londyn 2000,
fot. J. W. Sienkiewicz
THE TWILIGHT OF POLISH ART GALLERIES IN 20^-CENTURY LONDON
Summary
The article foreshadows a bigger publication, now in preparation, devoted to history of
exhibitions organized by Polish art galleries in London after World War II. So far, the
knowledge of the range of importance of Polish exhibiting institutions and their roie in
promoting both artists and the newest trends in European art in the second half of the 20^
century is only fragmentary. The author of the article presents a history of three Poiish
galleries: Drum Ga/fgry, Centaur Ga//ery and Gra&owxJu' Ga//g;y and an outline of their
activities. Among these three, the one that functioned longest, as it was 43 years (from 1957
to 2000), is Dn'an Ga/lery, owned by Halima Nałęcz. One year before, in 1999, the official
closing of Centaur Ca/Iery took place, the place which was managed by Dinah and Jan
Wieliczko. The gallery started its activities in London in 1960, working incessantly for
almost 40 years. The shortest life, 16 years, had Cra^awjł; Cal/ery, created in 1959 by
Mateusz Bronislaw Grabowski, a pharmacist by education, and closed in 1975. Each of these
galleries had its own individual profile, its own key for selecting artist for exhibition and
promotion, and its own ways to assure their functioning on the difficult London art market.
Apart from the activities of these institutions, an important role in the history of Polish
presence on the London cultural scene was played by organizations belonging to a different
JAN WIKTOR SIENKIEWICZ
19. Polski Ośrodek Społeczno-Kulturalny, 238-246 King Street, Londyn 2000,
fot. J. W. Sienkiewicz
THE TWILIGHT OF POLISH ART GALLERIES IN 20^-CENTURY LONDON
Summary
The article foreshadows a bigger publication, now in preparation, devoted to history of
exhibitions organized by Polish art galleries in London after World War II. So far, the
knowledge of the range of importance of Polish exhibiting institutions and their roie in
promoting both artists and the newest trends in European art in the second half of the 20^
century is only fragmentary. The author of the article presents a history of three Poiish
galleries: Drum Ga/fgry, Centaur Ga//ery and Gra&owxJu' Ga//g;y and an outline of their
activities. Among these three, the one that functioned longest, as it was 43 years (from 1957
to 2000), is Dn'an Ga/lery, owned by Halima Nałęcz. One year before, in 1999, the official
closing of Centaur Ca/Iery took place, the place which was managed by Dinah and Jan
Wieliczko. The gallery started its activities in London in 1960, working incessantly for
almost 40 years. The shortest life, 16 years, had Cra^awjł; Cal/ery, created in 1959 by
Mateusz Bronislaw Grabowski, a pharmacist by education, and closed in 1975. Each of these
galleries had its own individual profile, its own key for selecting artist for exhibition and
promotion, and its own ways to assure their functioning on the difficult London art market.
Apart from the activities of these institutions, an important role in the history of Polish
presence on the London cultural scene was played by organizations belonging to a different