DOI Page / Citation link:
https://doi.org/10.11588/diglit.31076#0125
China. No less intriguing are his dramas, in which satire and the
grotesque are interlarded with social and political questions. In
1939 he committed suicide, cutting his throat upon the news
that the Bolsheviks had invaded Poland.
In the thirties, a group of Cracow painters organized an
expedition to Paris in order to personally experience the newest
trends of art. They took the collective name of the Committee
of Paris (KP), from which derived the later term “Kapists.”
These painters adopted a variety of postimpressionism that was
categorized in Poland as colorism. Eschewing all historical and
social inspirations, they concentrated on the purely pictorial
value of works.
Cracow’s architecture was inspired by some features of
constructivism, particularly in monumental form. The greatest
manifestation of this trend was the imposing building of the
Jagiellonian Library, which housed one of the most valuable
collections of books, rare prints, and documents in the country.
At the same time, the role of Cracow as a city of museums
was firmly established. The Museum of Princes Czartoryski
functioned as before, its library and archives being an important
workshop for critical studies on Polish history. Some other
museums, founded at the beginning of the century, also devel-
oped. The Historical Museum of the City of Cracow was estab-
lished in connection with the Society of the Lovers of History and
Monuments of Cracow. Thus eminent scholars and amateur
researchers of the city’s history were joined together to facilitate
historical studies. Numerous objects excavated in the greater
Cracow area were housed in the Archaeological Museum; while
original objects of Cracow’s folk culture were gathered in the
115
grotesque are interlarded with social and political questions. In
1939 he committed suicide, cutting his throat upon the news
that the Bolsheviks had invaded Poland.
In the thirties, a group of Cracow painters organized an
expedition to Paris in order to personally experience the newest
trends of art. They took the collective name of the Committee
of Paris (KP), from which derived the later term “Kapists.”
These painters adopted a variety of postimpressionism that was
categorized in Poland as colorism. Eschewing all historical and
social inspirations, they concentrated on the purely pictorial
value of works.
Cracow’s architecture was inspired by some features of
constructivism, particularly in monumental form. The greatest
manifestation of this trend was the imposing building of the
Jagiellonian Library, which housed one of the most valuable
collections of books, rare prints, and documents in the country.
At the same time, the role of Cracow as a city of museums
was firmly established. The Museum of Princes Czartoryski
functioned as before, its library and archives being an important
workshop for critical studies on Polish history. Some other
museums, founded at the beginning of the century, also devel-
oped. The Historical Museum of the City of Cracow was estab-
lished in connection with the Society of the Lovers of History and
Monuments of Cracow. Thus eminent scholars and amateur
researchers of the city’s history were joined together to facilitate
historical studies. Numerous objects excavated in the greater
Cracow area were housed in the Archaeological Museum; while
original objects of Cracow’s folk culture were gathered in the
115