DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0092
its branch in Warsaw and held exhibitions, in Cracow and Warsaw, aimed at displaying links
among 'folk art material, historical material, and contemporary endeavours'. The Society also
intended to establish vocational training schools, including a school of industrial art attached to
the Fine Arts Academy in Cracow, and model experimental ateliers attached to the Museum of Technology
and Industry founded in Cracow in 1868 by Adrian Baraniecki and in 191 3 transferred to new
premises in Smolensk Street. This last intention was successfully carried out in 1911, when the
ARMiR (Architecture, Sculpture, Painting and Crafts) Group was formed with such prominent designers
and artists as Wojciech Jastrzebowski, Wlodzimierz Konieczny, Henryk Kunzek, Bonawentura Lenart,
Kazimierz Mlodzianowski and Jan Rembowski. Two years later, the Cracow Workshops were
established in the new building of the Museum of Technology and Industry, and drew most
of the above mentioned ARMiR members together with such eminent artists and designers as Jozef
Czajkowski, Karol Stryjenski, Zygmunt and Zofia Lorenc, Wilhelm Wyrwihski, Zofia Stryjehska
and Karol Homolacs. The head of this group and its leading theoretician was Jerzy Warchalowski. The
Cracow Workshops declared war not only on all trash and mediocrity, on imitation of historical styles;
it was equally strongly opposed to thoughtless imitation of folk art as well as automatic copying of Art
Nouveau motifs. Despite its many unquestionably valuable contributions, Art Nouveau could easily be
abused and easily yielded to kitsch, and therefore in the eyes of its opponents, it became synonymous
with the ugly and degenerate. The Cracow Workshops eliminated excessive ornamentation in favour
of beauty of shape and proper materials, the functional quality and composition of objects made. This
trend conformed with the new ideals of Constructivism and the new artistic movement the most spectacu-
lar manifestation of which was the Bauhaus School, founded in Weimar in 1919. The Cracow Workshops
produced objects in wood, silver, copper and brass and textiles with ornaments made according to the
Javanese batik technique. Though the Workshops survived the war, their subsequent activity lost much
of its initial impetus. In Warsaw, a Society in Support of Folk Industry was formed in 1908, with the
aim to help train rural youth.
From our point of view, what was particularly important in the Young Poland movement was that
applied art attracted many prominent artists who provided designs for craftsmen to work on.
An example of this cooperation is the Cracow Workshop of Stained Glass, Artistic Glazing and Glass
Mosaic opened in 1902 by Wladyslaw Ekielski and Antoni Tuch and purchased by Stanislaw Gabriel
Zelenski in 1906, which produced wares of a high standard of quality. Its successive artistic managers were
Jan Bukowski, Henryk Uziemblo and Stefan Matejko while the designs it executed came from such
leading painters of the time as Stanislaw Wyspianski, Jozef Mehoffer, Kazimierz Sichulski and Karol
Frycz. This establishment had its agencies in Paris, London and New York. For the first time in history
products of Polish craftsmen entered foreign markets with the help of modern methods of advertisement
and salesmanship. Artistic majolica was produced by Niedzwiedzki and Co. in the D^bniki district
of Cracow; metal wares were manufactured at Jozef Goreckfs Metalworks in the Grzegorzki district,
while Robert Jahoda ran a renowned bookbinding business in Cracow's Golcbia Street. Carpels and rugs
were made in Cracow and various provincial localities, particularly in Eastern Little Poland, according
to old designs and patterns. Since circa 1908, the Podhale Art Society established in Zakopane produced
a broad variety of artistic textiles, pottery and graphic art.
The period under discussion may be divided into three distinct parts, the turning points being the two
world wars. The whole of this long period was marked by steady regress of traditional methods of manu-
facture based on the guild system, though they survived in residual form. Next to efforts aimed at including
handicrafts within the purely artistic sphere, steps were taken to form associations of artists and artists'
cooperatives. Handicrafts were gradually ceasing to serve individual needs and increasingly often turned
to satisfy collective requirements, for example in interior designs for buildings, theatres, cafes, restaurants
and shops, stage sets and exhibition arrangement in art galleries and museums.
This change is particularly evident in dress styles. The traditional national dress of the Polish gentry,
still worn on special occasions in the period between the wars, is no longer to be seen today, save at the
cinema or theatre, or at performances of song and dance ensembles. Unfortunately these present-day
reconstructions often leave much to be desired. During the First World War and early years of restored
independence, the old-style Polish uniform, with its tall four-cornered cap, was preserved in some cavalry
formations, for example in the Regiment of Uhlans commanded by General Wladyslaw Belina
Prazmowski.
among 'folk art material, historical material, and contemporary endeavours'. The Society also
intended to establish vocational training schools, including a school of industrial art attached to
the Fine Arts Academy in Cracow, and model experimental ateliers attached to the Museum of Technology
and Industry founded in Cracow in 1868 by Adrian Baraniecki and in 191 3 transferred to new
premises in Smolensk Street. This last intention was successfully carried out in 1911, when the
ARMiR (Architecture, Sculpture, Painting and Crafts) Group was formed with such prominent designers
and artists as Wojciech Jastrzebowski, Wlodzimierz Konieczny, Henryk Kunzek, Bonawentura Lenart,
Kazimierz Mlodzianowski and Jan Rembowski. Two years later, the Cracow Workshops were
established in the new building of the Museum of Technology and Industry, and drew most
of the above mentioned ARMiR members together with such eminent artists and designers as Jozef
Czajkowski, Karol Stryjenski, Zygmunt and Zofia Lorenc, Wilhelm Wyrwihski, Zofia Stryjehska
and Karol Homolacs. The head of this group and its leading theoretician was Jerzy Warchalowski. The
Cracow Workshops declared war not only on all trash and mediocrity, on imitation of historical styles;
it was equally strongly opposed to thoughtless imitation of folk art as well as automatic copying of Art
Nouveau motifs. Despite its many unquestionably valuable contributions, Art Nouveau could easily be
abused and easily yielded to kitsch, and therefore in the eyes of its opponents, it became synonymous
with the ugly and degenerate. The Cracow Workshops eliminated excessive ornamentation in favour
of beauty of shape and proper materials, the functional quality and composition of objects made. This
trend conformed with the new ideals of Constructivism and the new artistic movement the most spectacu-
lar manifestation of which was the Bauhaus School, founded in Weimar in 1919. The Cracow Workshops
produced objects in wood, silver, copper and brass and textiles with ornaments made according to the
Javanese batik technique. Though the Workshops survived the war, their subsequent activity lost much
of its initial impetus. In Warsaw, a Society in Support of Folk Industry was formed in 1908, with the
aim to help train rural youth.
From our point of view, what was particularly important in the Young Poland movement was that
applied art attracted many prominent artists who provided designs for craftsmen to work on.
An example of this cooperation is the Cracow Workshop of Stained Glass, Artistic Glazing and Glass
Mosaic opened in 1902 by Wladyslaw Ekielski and Antoni Tuch and purchased by Stanislaw Gabriel
Zelenski in 1906, which produced wares of a high standard of quality. Its successive artistic managers were
Jan Bukowski, Henryk Uziemblo and Stefan Matejko while the designs it executed came from such
leading painters of the time as Stanislaw Wyspianski, Jozef Mehoffer, Kazimierz Sichulski and Karol
Frycz. This establishment had its agencies in Paris, London and New York. For the first time in history
products of Polish craftsmen entered foreign markets with the help of modern methods of advertisement
and salesmanship. Artistic majolica was produced by Niedzwiedzki and Co. in the D^bniki district
of Cracow; metal wares were manufactured at Jozef Goreckfs Metalworks in the Grzegorzki district,
while Robert Jahoda ran a renowned bookbinding business in Cracow's Golcbia Street. Carpels and rugs
were made in Cracow and various provincial localities, particularly in Eastern Little Poland, according
to old designs and patterns. Since circa 1908, the Podhale Art Society established in Zakopane produced
a broad variety of artistic textiles, pottery and graphic art.
The period under discussion may be divided into three distinct parts, the turning points being the two
world wars. The whole of this long period was marked by steady regress of traditional methods of manu-
facture based on the guild system, though they survived in residual form. Next to efforts aimed at including
handicrafts within the purely artistic sphere, steps were taken to form associations of artists and artists'
cooperatives. Handicrafts were gradually ceasing to serve individual needs and increasingly often turned
to satisfy collective requirements, for example in interior designs for buildings, theatres, cafes, restaurants
and shops, stage sets and exhibition arrangement in art galleries and museums.
This change is particularly evident in dress styles. The traditional national dress of the Polish gentry,
still worn on special occasions in the period between the wars, is no longer to be seen today, save at the
cinema or theatre, or at performances of song and dance ensembles. Unfortunately these present-day
reconstructions often leave much to be desired. During the First World War and early years of restored
independence, the old-style Polish uniform, with its tall four-cornered cap, was preserved in some cavalry
formations, for example in the Regiment of Uhlans commanded by General Wladyslaw Belina
Prazmowski.