DOI Page / Citation link:
https://doi.org/10.11588/diglit.23631#0105
the monument raised on the 5 5 oth anniversary of the victory at Grunwald. Wladyslaw Zych made IOI
a mosaic entitled Mallows to adorn the entrance to the Farmers' Hotel in Warsaw. Ceramics gradually
became a decorative element regularly used in Polish architecture, sometimes in the form of pictorial
compositions, sometimes as bas-reliefs. Such compositions were produced, for example, by Antoni
Starczewski, Hanna Zulawska and Wladyslaw Vetesco. In Cracow., the huge front elevation of the
Biprostal building was decorated with a geometrical ceramic composition designed by Celina Taranczewska,
and the facade of the Kijow Cinema was embellished with a similar composition designed by Witold
C^ckiewicz; the same cinema was given a ceramic panel designed by Krystyna Strachocka-Zgud. In
1970 the facade of the Voivodship Court in Cracow was decorated by Ewa Zygulska with fifteen
ceramic mosaics with symbolic motifs. Architectural ceramics, a difficult art and demanding enormous
technical effort, could not be used on a more general scale. Most artists working in ceramics devoted
themselves to works of a unique type. Produced with an exhibition in mind such works reflect the artists'
personal feelings, dreams and imagination, and occasionally convey a social message. In 1970, an
international exhibition of ceramic art was held in Sopot, at which some 150 Polish and foreign artists
showed their works, mostly approaching pure sculpture or pure painting. The exhibits included pottery
of extraordinary shapes, flat compositions and spatial compositions as well as completely abstract objects
of astonishing shape, texture and colour. The next international ceramics exhibition in Sopot, held in
1973, clearly indicated the lines that ceramic art was following in three distinct centres: on the Coast
(Hanna Zulawska, Maria and Zbigniew Alkiewicz, Andrzej Trzaska and Ryszard Surajewski), in Wroclaw
(Krystyna Cybihska, Irena Lipska-Zworska, Anna Malicka-Zamorska, Ewa Mehl, Halina Olech and
Stanislaw Szyba) and Cracow (Krvstyna Borkowska-Niemojewska, Leszek Dutka, Zygmunt Flin,
Felicja Pietek, Ludmila Bursowa and Ewa Zygulska). It was decided to hold a Triennial Ceramics
Exhibition in Sopot, and a Biennial Symposium of Polish Ceramic Art in Walbrzych. A form of
encouraging ceramic art were open-air meetings, the first of which took place in Kadyny in 1973, under
the auspices of the Polish Artists' Union. In fact the Union had done a great deal for the development
of all branches of art discussed here, for it helped in carrying out various projects and in organizing
exhibitions. In Warsaw, where Marta Podoska-Koch, Leszek Nowosielski and Magdalena Winiarska-
Gotowska did some remarkable work, a Circle of Ceramic Artists has been formed recently.
Changes noted in artistic glassware since the beginning of the 1960s have been no less important
than those in ceramic art. A major role in this respect was played by Swedish and Finnish models of a truly
modern style. In Poland, Lower Silesia continues to be the principal centre of artistic glass production,
mainly thanks to its many glassworks and well developed artistic schools, headed by the Artistic Glass
Department of the Higher State School of Art in Wroclaw. Experimental work has also been conducted
at the glassworks in Krosno, mostly by Cracow artists, including Maria Zmigrodzka. Modern trends
in artistic glassware, as regards both shape and colour, were demonstrated at the national exhibition of
ceramic and glassware held at the Silesian Museum in Wroclaw in i960, and the first successes came with
the appearance of Polish artists at the artistic glass triennale in Milan. Similarly to ceramics, work in
glass developed in three directions: in elements of modern architecture, in original individual works of
art, and in modern-style traditional glassware. The Wroclaw school, with such artists as Jan Drost and
Erika Trzewik-Drost, Jozef Janicki, and later Zbigniew Horbowy (specializing in blown vessels of sodium
glass), Jan Owsiewski, Jozef Podlasek, Aleksander Puchala, Regina Wlodarczyk-Puchala and Jerzy
Shiczan-Orkusz, made a considerable contribution to the modernization of artistic glass. A group of pupils
of Professor Stanislaw Dawski, among them Lucjan Gajos, Aleksandra Gohczyhska, Jan Kosihski,
Bohdan Kupczyk, Amanda Rozahska, Wieslaw Sawczuk and Barbara IJrbahska, began working in glass
in the 1960s. Characteristic features of the new trend, such as originality and variety of form, enhancing the
effects of translucence and colour, and marked influence of 'superior' arts, namely painting and sculpture,
were discernible at the exhibition of modern Polish artistic glass held in Cracow's National Museum
in 1963. At this exhibition works by Wladyslaw Zych, Henryk Albin Tomaszewski and Tadeusz Szymahski
were particularly noteworthy. In the 1970s artistic glass continued to hold an important place among
other domains of art in Poland. Younger artists appeared on the scene, and established contacts with
various glassworks. Young Cracow artists grouped round the Modelling Department of the Institute
of Research and Experiments in Glass Industry, headed by Jerzy Shiczan-Orkusz, displayed great
activeness.
Successes attained in the branches discussed above detracted attention from problems of interior design
a mosaic entitled Mallows to adorn the entrance to the Farmers' Hotel in Warsaw. Ceramics gradually
became a decorative element regularly used in Polish architecture, sometimes in the form of pictorial
compositions, sometimes as bas-reliefs. Such compositions were produced, for example, by Antoni
Starczewski, Hanna Zulawska and Wladyslaw Vetesco. In Cracow., the huge front elevation of the
Biprostal building was decorated with a geometrical ceramic composition designed by Celina Taranczewska,
and the facade of the Kijow Cinema was embellished with a similar composition designed by Witold
C^ckiewicz; the same cinema was given a ceramic panel designed by Krystyna Strachocka-Zgud. In
1970 the facade of the Voivodship Court in Cracow was decorated by Ewa Zygulska with fifteen
ceramic mosaics with symbolic motifs. Architectural ceramics, a difficult art and demanding enormous
technical effort, could not be used on a more general scale. Most artists working in ceramics devoted
themselves to works of a unique type. Produced with an exhibition in mind such works reflect the artists'
personal feelings, dreams and imagination, and occasionally convey a social message. In 1970, an
international exhibition of ceramic art was held in Sopot, at which some 150 Polish and foreign artists
showed their works, mostly approaching pure sculpture or pure painting. The exhibits included pottery
of extraordinary shapes, flat compositions and spatial compositions as well as completely abstract objects
of astonishing shape, texture and colour. The next international ceramics exhibition in Sopot, held in
1973, clearly indicated the lines that ceramic art was following in three distinct centres: on the Coast
(Hanna Zulawska, Maria and Zbigniew Alkiewicz, Andrzej Trzaska and Ryszard Surajewski), in Wroclaw
(Krystyna Cybihska, Irena Lipska-Zworska, Anna Malicka-Zamorska, Ewa Mehl, Halina Olech and
Stanislaw Szyba) and Cracow (Krvstyna Borkowska-Niemojewska, Leszek Dutka, Zygmunt Flin,
Felicja Pietek, Ludmila Bursowa and Ewa Zygulska). It was decided to hold a Triennial Ceramics
Exhibition in Sopot, and a Biennial Symposium of Polish Ceramic Art in Walbrzych. A form of
encouraging ceramic art were open-air meetings, the first of which took place in Kadyny in 1973, under
the auspices of the Polish Artists' Union. In fact the Union had done a great deal for the development
of all branches of art discussed here, for it helped in carrying out various projects and in organizing
exhibitions. In Warsaw, where Marta Podoska-Koch, Leszek Nowosielski and Magdalena Winiarska-
Gotowska did some remarkable work, a Circle of Ceramic Artists has been formed recently.
Changes noted in artistic glassware since the beginning of the 1960s have been no less important
than those in ceramic art. A major role in this respect was played by Swedish and Finnish models of a truly
modern style. In Poland, Lower Silesia continues to be the principal centre of artistic glass production,
mainly thanks to its many glassworks and well developed artistic schools, headed by the Artistic Glass
Department of the Higher State School of Art in Wroclaw. Experimental work has also been conducted
at the glassworks in Krosno, mostly by Cracow artists, including Maria Zmigrodzka. Modern trends
in artistic glassware, as regards both shape and colour, were demonstrated at the national exhibition of
ceramic and glassware held at the Silesian Museum in Wroclaw in i960, and the first successes came with
the appearance of Polish artists at the artistic glass triennale in Milan. Similarly to ceramics, work in
glass developed in three directions: in elements of modern architecture, in original individual works of
art, and in modern-style traditional glassware. The Wroclaw school, with such artists as Jan Drost and
Erika Trzewik-Drost, Jozef Janicki, and later Zbigniew Horbowy (specializing in blown vessels of sodium
glass), Jan Owsiewski, Jozef Podlasek, Aleksander Puchala, Regina Wlodarczyk-Puchala and Jerzy
Shiczan-Orkusz, made a considerable contribution to the modernization of artistic glass. A group of pupils
of Professor Stanislaw Dawski, among them Lucjan Gajos, Aleksandra Gohczyhska, Jan Kosihski,
Bohdan Kupczyk, Amanda Rozahska, Wieslaw Sawczuk and Barbara IJrbahska, began working in glass
in the 1960s. Characteristic features of the new trend, such as originality and variety of form, enhancing the
effects of translucence and colour, and marked influence of 'superior' arts, namely painting and sculpture,
were discernible at the exhibition of modern Polish artistic glass held in Cracow's National Museum
in 1963. At this exhibition works by Wladyslaw Zych, Henryk Albin Tomaszewski and Tadeusz Szymahski
were particularly noteworthy. In the 1970s artistic glass continued to hold an important place among
other domains of art in Poland. Younger artists appeared on the scene, and established contacts with
various glassworks. Young Cracow artists grouped round the Modelling Department of the Institute
of Research and Experiments in Glass Industry, headed by Jerzy Shiczan-Orkusz, displayed great
activeness.
Successes attained in the branches discussed above detracted attention from problems of interior design