DOI Heft:
Artykuły / Articles
DOI Artikel:Podniesińska, Kamila: Wokół Pochodu na Wawel Wacława Szymanowskiego
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31061#0114
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Kamila Podniesińska
On the Procession to Wawel Hill by Wacław Szymanowski
Summary
On the Procession to Wawel Hill by Wacław Szymanowski looks at a monumental com-
position the artist planned to install on Wawel Hill at the site of the former royal kitchen.
In his work, the sculptor invoked the romantic concept of rebirth through death. This
gigantic procession of 52 statues of historical figures with a deeply symbolic reference to
a mythical ritual of communication with the forefathers, which had been held on the holy
Wawel Hill, touched upon an issue that was critical for Poles in the first decade of the 20th
century: independence regained after over a hundred years under the yoke of national
bondage. Although a 1:20 plaster model proved a great success at a Vienna exhibition,
the sculpture was never to be executed. Instead, it provoked a heated dispute around what
were highly sensitive issues in the 19th century: the artist s attitude to the existing tra-
dition, freedom of interpretation of historical events, and the ambiguous definition of
monument sculpture.
Kamila Podniesińska
On the Procession to Wawel Hill by Wacław Szymanowski
Summary
On the Procession to Wawel Hill by Wacław Szymanowski looks at a monumental com-
position the artist planned to install on Wawel Hill at the site of the former royal kitchen.
In his work, the sculptor invoked the romantic concept of rebirth through death. This
gigantic procession of 52 statues of historical figures with a deeply symbolic reference to
a mythical ritual of communication with the forefathers, which had been held on the holy
Wawel Hill, touched upon an issue that was critical for Poles in the first decade of the 20th
century: independence regained after over a hundred years under the yoke of national
bondage. Although a 1:20 plaster model proved a great success at a Vienna exhibition,
the sculpture was never to be executed. Instead, it provoked a heated dispute around what
were highly sensitive issues in the 19th century: the artist s attitude to the existing tra-
dition, freedom of interpretation of historical events, and the ambiguous definition of
monument sculpture.