Malopolska in the inter-war period

Malopolska in the inter-war period Helena Postawka-Lech The Malopolska region was like a lens it accumulated all the trends and tendencies emerging in Poland reborn after the year 1918. The Central Industrial Region, the Academy of Mining and Metallurgy (AGH) and the town of Zakopane, attracting Polish cultural and social elites, are only some of the examples of the contribution the inhabitants of Malopolska made to the huge effort of reintegrating the Republic of Poland from the three partitions, so differentiated in terms of their organisation and economy. Thanks to the relatively large autonomy and good organisation under Austrian occupation, the chaos related with the creation of a new administrative division was quickly tackled and the following new voivodeships were created: Krakow, Lviv, Tarnopol and Stanisławów. In the year of its establishment (1920), the Krakow Voivodeship, with its capital in Krakow, covered an area of 17,448 km 2 and had a population of 1,992,810. Its area did not exactly coincide with today s area of the Malopolska Voivodeship, i.e. the districts of Mielec, Dębica and Żywiec became disconnected, whereas the districts of Miechów and Olkusz were annexed. Nonetheless, the area occupied by the two voivodeships was similar in size. Many institutions and buildings in the Malopolska Voivodeship can be traced back to the inter-war period. In the reborn Polish State everything was expected to be new. Throwing off the coat of Konrad, as the poet Antoni Słonimski poetically described the regaining of independence, sparked the rush to modernity. Free Poland was supposed to be a country of the future, not brooding over its past wounds, but building its position on the basis of strong industry, economy and avant-garde culture. Patriotism was then conceived as dedicated work for the sake of the homeland. People of science understood the need for well-educated staff that would be able to administer industry and natural resources. In 1919 the activities aimed at the opening of the Academy of Mining and Metallurgy in Krakow (AGH) were eventually finalised. The academy had two faculties mining and metallurgy with minor departments operating within their scope. It soon reached a high level of education and was able to compete with foreign universities. In the inter-war period, 571 diplomas in mining and 224 diplomas in metallurgy were granted. Engineers educated at the AGH were sought after; they were involved in investments emerging within the Central Industrial Region. According to the plan initiated by the Minister of Treasury Eugeniusz Kwiatkowski, the industrial sector based on natural resources was to be significantly expanded with the intention to enhance the Polish economy and help it to rise after the great crisis at the turn of the 1920s and 1930s. A great part of investments established within the Central Industrial Region have been operating up until the present day. Also, Polish culture began to thrive after regaining independence. Modernistic trends such as Cubism, Futurism and Expressionism gradually permeated the country. The encounter of western art trends with Polish specificity generated new tendencies inspired by modernistic movements, yet still so different. Cultural life flourished not only in Krakow salons, but also in the villas of Zakopane as well as the health resorts of Beskid Sądecki. It was also the result of a new lifestyle. The cult of physical fitness and health encouraged even intellectuals to leave their stuffy basements and depart for spas or go skiing. From mountain trips one could bring back keepsake photos as a thank you to the miniaturised camera; photography left the atelier to become common entertainment. The radio played the lively Charleston The new state, new culture and art, as well as a new lifestyle were the key elements of the interwar period, forming a modernistic image of the world. In art the term modernism is very broad as it encompasses all the artistic trends and tendencies emerging from as early as the 1870s, i.e. when the Impressionists made their first steps towards the emancipation of painting from the primacy of figuration and mimicry to the conceptual art of the 1970s. However, modernism can also be understood in wider terms as the strategy for shaping reality far exceeding the frames of the art world. As Andrzej Szczerski put it in his book Modernizacje (Modernisations), after 1918

many central European countries founded their identity on modernistic concepts. Following this pattern, let us take a closer look at modernistic Malopolska. NEW STATE Urn for piłsudski s mound with the ground gathered from all the airports of the second republic of poland Historical Museum of the City of Krakow (Muzeum Historyczne Miasta Krakowa) The New Statehood had its Marshal. Despite sparking numerous controversies and the existence of factions not always backing him, he was undisputedly one of the most outstanding figures in the Polish political scene. His charismatic personality also emanated to other areas of life. He was a patron to numerous events and investments, not only military ones, e.g., the foundation of the Academy of Physical Education in Warsaw (1929). Also, numerous works of art are associated with Piłsudski both his depictions, e.g., his famous portraits by Wojciech Kossak or Konrad Krzyżanowski, as well as works created in his honour, e.g., the house named after Józef Piłsudski at the corner of 3 Maja Street and Oleandry Street in Krakow, commemorating the place of departure of the Legions. The building was designed by Krakow architect Adolf Szyszko-Bohusz in 1928. It was erected upon the initiative of the Association of Polish Legionaries, and granted by the municipality for their seat. In 1936 the first ever exhibition of mementos connected with the First Cadre Company was held in this building. Among the exhibits were also urns with ground, later placed in Piłsudski s Mound. The mound, the creation of which was initiated on 6 August 1934 on the 20 th anniversary of the departure of the First Cadre Company from Krakow, was named in honour of Piłsudski after the Marshal s death. In the 1930s, a campaign commemorating the places where the First Cadre Company had destroyed border posts between annexed territories was started. In Malopolska such an obelisk has been preserved, for example, in Michałowice. Hanukkah candelabrum District Museum in Tarnów (Muzeum Okręgowe w Tarnowie) The Krakow Voivodeship was not ethnically uniform. It was inhabited mainly by Poles, Jews, Ukrainians as well as Germans. The Jews lived principally in cities and towns, and dealt in trade and crafts. Krakow was home to one of the oldest Jewish communities with the history of the Jews tracing back to the 12 th century. After regaining independence, strong tensions between the Polish and Jewish communities emerged. Various groups and factions existed, both those advocating assimilation as well as those with separatist tendencies. It must be remembered though that during the inter-war period the Jews exercised many important administrative functions, e.g., Józef Sare, a long-term mayor of the City of Krakow. They also made a significant contribution to the intellectual and artistic development of the city. The stimulating environment of Jewish architects, including Fryderyk Tadanier and Adolf Siódmak, have largely shaped today s Krakow. The Hanukkah, also known as hanukiach, is an eight-branch candelabrum lit during the Hanukkah holiday. Modernistic forms of this object show that Jewish artists were open to modernity, despite their attachment to tradition.

Carbide Mining Lamp Antoni Minkiewicz Regional Museum of the Polish Tourist and Sightseeing Society in Olkusz (Muzeum Regionalne PTTK im. Antoniego Minkiewicza w Olkuszu) Having regained independence, the Polish State craved for economic stability. Numerous initiatives appeared such as the building of the port in Gdynia or the standardisation and consolidation of rail networks. However, in the late 1920s the global crisis undermined the young economy of the Second Republic of Poland. The establishment of the Central Industrial Region was intended to combat the consequences of the crisis as well as to provide the country with the adequate industrial base. The Central Industrial Region encompassed southern-central districts. Hydroelectric plants in Porąbka and Rożnów, Nitrogen Plants in Tarnów-Mościce, the Polish Aviation Works in Mielec, and the Stomil tyre company in Dębica were set up on the territory of the Krakow Voivodeship. All the above-mentioned investments boasted a high engineering and architectural level. Along with big investments, housing estates intended for workers (Rożnów, Mościce) were also created. In the Krakow Voivodeship, important mining centres Jasło and Gorlice were also located. The lamps used there were similar to the one presented here. NEW ART Szermierka (fencing) by leon chwistek National Museum in Krakow (Muzeum Narodowe w Krakowie) In the inter-war period new art centres were quickly emerging, with Warsaw and Łódź beginning to play a vital role. This is where the Polish avant-garde movement was born. Krakow, although faded into the background, did not lose its significance. In 1917 the first exhibition of the Formists was held in the capital of Malopolska. The group, composed of such artists as Leon Chwistek, Tytus Czyżewski, and the brothers Andrzej and Zbigniew Pronaszko, was the first truly modern post-war movement in newly-reborn Poland. The Formists operated in the fields of painting, sculpture and drama. Although influenced by Cubism and Futurism, they were far from being mere copyists of Parisian or Roman artists. An additional value was the experience gathered by Polish art before, e.g., by its references to folk tradition. In time their works began to depart towards stricte decorative art. Of a far more avant-garde nature was Grupa Krakowska (the Krakow Group) uniting young representatives of the Academy of Fine Arts in Krakow: Maria Jarema, Henryk Wiciński, Jonasz Stern and Leopold Lewicki. Their works were influenced by Cubism, Abstractionism and New Objectivity (Neue Sachlichkeit). An important role in the shaping of the art environment was played by Komitet Paryski (Paris Committee), created in Krakow in 1923 by the students of the Academy of Fine Arts so as to organise a group tour to Paris for studies there. They were known as the Kapists, the name being derived from the abbreviation KP (Polish: Komitet Paryski) and drew their inspiration from Bonnard and Cézanne, while their spiritual master was Józef Pankiewicz. The most prominent representatives of the Kapists included Jan Cybis, Artur Nacht-Samorski, Hanna Rudzka-Cybisowa, Józef Czapski and Zygmunt Wasilewski. Two armchairs, poland, ład co-operative National Museum in Krakow (Muzeum Narodowe w Krakowie) Malopolska boasts a rich tradition of art crafts. In 1901 the Polish Applied Art Society, designed to cultivate and promote high quality crafts, was established in Krakow. The society was cocreated by such artists as Józef Czajkowski, Karol Tichy and Henryk Uziembło. From this environment the Society of Krakow Workshops subsequently originated. The workshops encompassed furniture, metal, weaving, haberdashery, toy making as well as dying and batik. The latter largely contributed to the popularisation of batik in Poland. The Krakow Workshops were designed to restore folk crafts. Not only folk patterns and motifs, but also traditional techniques and materials were used, and even folk creators were employed. Unfortunately, despite the high recognition

of their works and international successes such as the awards granted at the world exhibition in Paris in 1925, the Workshops faced financial problems, which led to them being eventually closed down in 1926. Many artists began to collaborate with the Art Co-operative Ład established in Warsaw that same year, which continued the principles of the Workshops, simultaneously combining them with commercial activity. Costume designs for the ballet show harnasie National Museum in Krakow (Muzeum Narodowe w Krakowie) In the inter-war period, the social and artistic life in Malopolska flourished not only in Krakow salons, but also in Zakopane. This small village was discovered for tourists and visitors by Tytus Chałubiński as early as the 19 th century. In time the village began to attract writers, artists and intellectuals. The culture and art of Podhale became an inspiration for numerous works in the fields of architecture, plastic arts and music. One of such examples is the ballet-pantomime Harnasie by Karol Szymanowski. The trend of staging grand scale ballet performances was initiated in Europe by Ballets Russes (Russian Ballets), conducted by the ballet master and choreographer Sergei Diaghilev at the beginning of the 20 th century. Harnasie received the adequate stage setting and costumes designed by the Warsaw artist Halina Lorentowicz. The show was staged in Warsaw and Paris, where Lorentowicz was awarded by the French government with a 5-year scholarship in recognition of her achievements. Portrait of teofil trzciński by witkacy Historical Museum of the City of Krakow (Muzeum Historyczne Miasta Krakowa) Teofil Trzciński was the director of the Municipal Theatre (today Juliusz Słowacki Theatre) from 1918 to 1926 and from 1929 to 1932. He had the courage to stage the modern repertoire: by Stanisław Ignacy Witkiewicz (Tumor Muzgowicz [Tumor Brainiowicz], 1921; Kurka Wodna [The Water Hen], 1922), and Luigi Pirandello (Six Characters in Search of an Author, 1923). Under his directorship Odprawa posłów greckich (The Dismissal of the Greek Envoys) was staged in the courtyard of the Wawel castle. Theatres enjoyed great popularity with the audience. Along with the Municipal Theatre, Krakow was home to the Ludowy Theatre (People s Theatre) open also to the poorer strata of society, the Bagatela Theatre of a boulevard character, as well as experimental theatres such as Cricot, Awascena, or Krakowska Konfraternia Teatralna (Krakow Theatrical Confraternity). Portrait of nena stachurska painting Dr Tytus Chałubiński Tatra Museum in Zakopane (Muzeum Tatrzańskie im. dra Tytusa Chałubińskiego w Zakopanem) Pure form, the Formist Theatre, a portrait painting firm Witkacy went down in history for numerous forms of art. The son of the painter and architect Stanisław Witkiewicz was born in Warsaw, but spent his childhood and youth in Zakopane. At the beginning of his artistic path he turned to Formism, maintaining a close relationship with Leon Chwistek, a formist and a family friend. He was the head of the Formist Theatre. Stage designs for the shows performed at his theatre were designed by, for example, Rafał Malczewski. In 1925 Witkacy established a portrait painting firm specialising in several types of portraits, depending on the degree of his familiarity with a portrayed person, his mood and the amount of stimulants he consumed during his work. The range of portraits was wide: from realistic portraits depicting external features of a model to pure form, i.e. works allowing total freedom in presenting the spiritual life and character of a portrayed person. The concept of pure form also referred to literature and philosophy. It assumed the rejection of any logical and rational forms in favour of evoking a metaphysical feeling in a recipient. According to Witkacy, it was not the content of a work that was able to move a man living in the mechanised and dehumanised society of the 20 th century, but the form itself.

NEW LIFESTYLE Ensign midget camera, model 55 History of Photography Museum (Muzeum Historii Fotografii) Travelling became a modern form of entertainment. The development of the communication network and the increase in the availability of cars significantly expanded the possibilities of travel. The primary stimulus for the development of tourism was the regaining of independence and the integration of the state after the three partitions. Therefore, local destinations enjoyed a growing popularity. A photo camera became a travel companion and a guarantee of nice mementos. Ever since the release of photographic films in rolls into the market by Eastman Kodak, photography became truly easy and widely accessible. The progressing process of miniaturisation allowed women to carry a camera even in their handbags. This was exactly the way Ensign Midget cameras were advertised. Ensign Midget was yet another model of cameras produced by Houghton-Butcher and designed by the Swedish constructor, Magnus Neill. The advertisements were accompanied with the slogan A camera for every-day use. Photography left the atelier and got out of experts hands for good to become a popular hobby available to everyone every day. 4-Sl/i radio set Municipal Engineering Museum (Muzeum Inżynierii Miejskiej) Hello, hello this is the Polish Radio Warsaw speaking, frequency 480 these words opened the history of Polskie Radio (Polish Radio). Preceded by radiophonic rehearsals and technical experiments, it began regular broadcasting on 18 April 1926. Intensive radiophonisation and production of domestic radio sets was developing. The radio became the first step to a quick and global distribution of information. Moreover, Polskie Radio boasted an extensive cultural programme and a very high level, cooperating with such prominent figures as Jarosław Iwaszkiewicz, Maria Dąbrowska and Władysław Szpilman. The second broadcasting station was Krakow, which started to broadcast on 15 February 1927. Soon a radio set became an indispensable element of the modern flat. Fk mała typing machine Municipal Engineering Museum (Muzeum Inżynierii Miejskiej) It is highly probable that models such as the one presented here were kept in the Krakow editorial office of Ilustrowany Kurier Codzienny (Illustrated Daily Courier) called Ikac. It was a daily paper of nationwide coverage issued in Krakow since 1910. Its founder, editor and publisher was Marian Dąbrowski a colourful figure from the inter-war period with the ambition of being not only a publisher, but also the creator of the first Polish press consortium. He took over smaller newspapers like Nowiny (News) and Nowa Reforma (New Reform), and developed a network of local branches. From 1927, his kingdom the publishing house was housed in the Press Palace on 1 Wielopole Street. This is where widely read titles like: Na szerokim świecie (In the Wide World), Tajny Detektyw (Secret Detective) or Światowid (Svetovid) were issued. The flow of information was accelerating and the press was gradually becoming the opinion-forming power. Jumping ski Museum of the Association of Piwniczna Enthusiasts (Muzeum Towarzystwa Miłośników Piwnicznej) In the inter-war period, an active lifestyle and relaxation enjoyed great popularity. Resorts and health spas flourished from Zakopane to Jurata. All of them, apart from their natural values, provided a wide sports offer. The Krakow Voivodeship was oriented towards mountain tourism and winter sports skiing, sledging and ice hockey. The adequate infrastructure sports and

recreational facilities were built. In Krynica the first funicular railway track to Parkowa Mountain (Góra Parkowa) was created in 1937. It was only a year later that Zakopane received its funicular track to the top of Gubałówka. Competing with Zakopane, Krynica also boasted a sledging run and a ski jumping hill. Both towns were famous for their luxurious guesthouses Krynica for Patria (designed by the Warsaw architect Bohdan Pniewski), which belonged to the acclaimed singer Jan Kiepura, whereas Zakopane was known for the health spa called Odrodzenie. Link: Coverage of the exhibition Modernizacje (Modernisations) under the custody of Andrzej Szczerski http://www.youtube.com/watch?v=c1rnwbixrtm Helena Postawka-Lech an art historian and a PhD student at the Institute of Art History at the Jagiellonian University. Her research interests embrace the architecture and art of the interwar period in Poland and abroad as well as contemporary visual culture. Since 2009 she has been working in the International Cultural Centre as a curator of exhibitions and accompanying programmes. She cooperates with various institutions, e.g., the Malopolska Institute of Culture (Małopolski Instytut Kultury) and Wydawnictwo Dodo Editor publishing house.