DOI Page / Citation link:
https://doi.org/10.11588/diglit.23631#0091
height. The front and back had four rectangular sections, each with an ornamental design of bull's eyes
and flowers in flowerpots with S-shaped handles, undoubtedly of Renaissance origin, which were painted
against a green, yellow, or more rarely blue background. Flowers were also painted on other pieces of
furniture, particularly beds, cradles, shelves, sometimes benches, stools and tables.
The highland dress, which so fascinated Stanislaw Witkiewicz, was more austere, with many elements
taken from the Hungarian and even Walachian dress. It consisted of a black flaitish round hat with
a broad rim adorned with a string of little shells running light round, and an eagle s feather; a homespun
woollen cape or vest with sleeves slung over the shoulders, with embroidery and applique leather ornaments;
a broad belt with brass ornaments serving also as a money-belt; homespun close-fitting woollen trousers
embroidered on the thighs in thistle motifs, called parxenice; and moccasin-type footwear. The pang-nice
in fact appeared only in the 19th century since before that date highlanders' trousers were adorned with
small leather ornaments and embroideries, with red stripes along the outer leg and red tassels. In addition
a highlander always carried a stick with a steel handle shaped like an axe. Highland robbers, with their
chiefs known as harnasie, wore tall ornate kolpak-type hats ol Hungarian origin; needless to say in
the days of Witkiewicz highland robbers were a thing of the past and lived on only in legend. Highlanders
had their own characteristic jewel ornaments: a heart-shaped stud in men s shirts and strings of corals
and coral earrings with women's dress. Highland cottages and shepherds' huts were real masterpieces
of carpenters' and wood-carvers' art. In the highlands blacksmithing also represented a high standard
of workmanship. In highland cottages all household utensils were beautifully fashioned with carvings in
geometrical and plant motifs. A special branch of art practised in the highlands was painting on glass,
the subjects being usually figures of saints, which embellished interiors of cottages and churches.
In Mazovia, Lowicz tradition was particularly attractive, with its characteristic broad-striped skirts in
brilliant colours, amber necklaces, original paper cut-outs and beautifully decorated Easter eggs. In the
Zywiec region, the women's dress was distinguished by its lace-like embroideries on fine tulle. As mentioned
above, the regional dress of Hutsul highlanders was original and arresting, decorated with cross-stitch
embroidery and coloured beads. Hutsul pottery was famous, as were their objects in wood and brass.
In Silesia, regional folk art survived centuries of foreign domination and preserved its specific features,
particularly in filigree jewelry and silver chains.
Thus folk art constituted a rich source of inspiration for artists. It also determined the course of
development of artistic craftsmanship though in many cases it was deprived of its original authenticity
and corrupted.
Stanislaw Witkiewicz did not stop at theories only. He perceived the possibility of transplanting the
Zakopane style in building to large-scale housing construction, which might give rise to a modern national
architecture. Witkiewicz designed a number of buildings in Zakopane: the villas Koliba, Oksza and
Pod Jedlami, Dr. Hawranek's sanatorium, the chapel in Jaszczurowka and the Tatra Museum. These
houses stood on stone foundations, had timbered walls, steep conical roofs, dormer windows, balconies
with ornamental railings, finely carved window-frames and steep triangular gables. The Zakopane style
had its admirers in Warsaw and Lvov but in fact it hardly spread outside the area of Zakopane. In artistic
crafts, on the other hand, the influence of the highland style was evident in various parts of the country.
Stanislaw Wyspiahski for one made use of both Cracow and highland elements in his interior and stage
designs.
In this aura of faith in the vivifying faculty of folk art the Society of Polish Applied Art was founded
in Cracow in 1901. Its statutory aim was to 'arouse original trends in art applied to industry and the building
trade, assure applied art specifically national characteristics, and at the same time create the essential
national atmosphere and artistic aura'. The soul of the Society was Jerzy Warchalowski and its
membership included Jozef Czajkowski, Stanislaw Golihski, Feliks Kopera, Karol Potkahski, Wlodzimierz
Tetmajer, Karol Tichy, Edward Trojanowski, Stanislaw Witkiewicz and Stanislaw Wyspiahski. Jozef
Czajkowski, painter and architect, was a tireless propagator of artistic crafts, a man whose dream was
that thousands of workshops of every sort and kind should be opened throughout the country. In practice,
the Society engaged in collecting materials relative to Polish folk art, organized exhibitions, arranged
competitions and with the help of various publications propagated original artistic projects in various
branches of art and craftsmanship. In 1902, the Society started publishing a magazine showing sample
patterns and designs; at first called Wydaionictioo Towanystwa Polskiej Situkj Stosowanej — Materialy,
it subsequently changed its name to Si^uka Stosoioana (Applied Art). The Society opened
and flowers in flowerpots with S-shaped handles, undoubtedly of Renaissance origin, which were painted
against a green, yellow, or more rarely blue background. Flowers were also painted on other pieces of
furniture, particularly beds, cradles, shelves, sometimes benches, stools and tables.
The highland dress, which so fascinated Stanislaw Witkiewicz, was more austere, with many elements
taken from the Hungarian and even Walachian dress. It consisted of a black flaitish round hat with
a broad rim adorned with a string of little shells running light round, and an eagle s feather; a homespun
woollen cape or vest with sleeves slung over the shoulders, with embroidery and applique leather ornaments;
a broad belt with brass ornaments serving also as a money-belt; homespun close-fitting woollen trousers
embroidered on the thighs in thistle motifs, called parxenice; and moccasin-type footwear. The pang-nice
in fact appeared only in the 19th century since before that date highlanders' trousers were adorned with
small leather ornaments and embroideries, with red stripes along the outer leg and red tassels. In addition
a highlander always carried a stick with a steel handle shaped like an axe. Highland robbers, with their
chiefs known as harnasie, wore tall ornate kolpak-type hats ol Hungarian origin; needless to say in
the days of Witkiewicz highland robbers were a thing of the past and lived on only in legend. Highlanders
had their own characteristic jewel ornaments: a heart-shaped stud in men s shirts and strings of corals
and coral earrings with women's dress. Highland cottages and shepherds' huts were real masterpieces
of carpenters' and wood-carvers' art. In the highlands blacksmithing also represented a high standard
of workmanship. In highland cottages all household utensils were beautifully fashioned with carvings in
geometrical and plant motifs. A special branch of art practised in the highlands was painting on glass,
the subjects being usually figures of saints, which embellished interiors of cottages and churches.
In Mazovia, Lowicz tradition was particularly attractive, with its characteristic broad-striped skirts in
brilliant colours, amber necklaces, original paper cut-outs and beautifully decorated Easter eggs. In the
Zywiec region, the women's dress was distinguished by its lace-like embroideries on fine tulle. As mentioned
above, the regional dress of Hutsul highlanders was original and arresting, decorated with cross-stitch
embroidery and coloured beads. Hutsul pottery was famous, as were their objects in wood and brass.
In Silesia, regional folk art survived centuries of foreign domination and preserved its specific features,
particularly in filigree jewelry and silver chains.
Thus folk art constituted a rich source of inspiration for artists. It also determined the course of
development of artistic craftsmanship though in many cases it was deprived of its original authenticity
and corrupted.
Stanislaw Witkiewicz did not stop at theories only. He perceived the possibility of transplanting the
Zakopane style in building to large-scale housing construction, which might give rise to a modern national
architecture. Witkiewicz designed a number of buildings in Zakopane: the villas Koliba, Oksza and
Pod Jedlami, Dr. Hawranek's sanatorium, the chapel in Jaszczurowka and the Tatra Museum. These
houses stood on stone foundations, had timbered walls, steep conical roofs, dormer windows, balconies
with ornamental railings, finely carved window-frames and steep triangular gables. The Zakopane style
had its admirers in Warsaw and Lvov but in fact it hardly spread outside the area of Zakopane. In artistic
crafts, on the other hand, the influence of the highland style was evident in various parts of the country.
Stanislaw Wyspiahski for one made use of both Cracow and highland elements in his interior and stage
designs.
In this aura of faith in the vivifying faculty of folk art the Society of Polish Applied Art was founded
in Cracow in 1901. Its statutory aim was to 'arouse original trends in art applied to industry and the building
trade, assure applied art specifically national characteristics, and at the same time create the essential
national atmosphere and artistic aura'. The soul of the Society was Jerzy Warchalowski and its
membership included Jozef Czajkowski, Stanislaw Golihski, Feliks Kopera, Karol Potkahski, Wlodzimierz
Tetmajer, Karol Tichy, Edward Trojanowski, Stanislaw Witkiewicz and Stanislaw Wyspiahski. Jozef
Czajkowski, painter and architect, was a tireless propagator of artistic crafts, a man whose dream was
that thousands of workshops of every sort and kind should be opened throughout the country. In practice,
the Society engaged in collecting materials relative to Polish folk art, organized exhibitions, arranged
competitions and with the help of various publications propagated original artistic projects in various
branches of art and craftsmanship. In 1902, the Society started publishing a magazine showing sample
patterns and designs; at first called Wydaionictioo Towanystwa Polskiej Situkj Stosowanej — Materialy,
it subsequently changed its name to Si^uka Stosoioana (Applied Art). The Society opened