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Media
Part of Summary/ Polska Sztuka Ludowa - Konteksty 1960 t. 14 z.2
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P
O
L
QUARTERLY
I
S
PUBLISHED
H
F
BY T H E ART INSTITUTE
N. 2
Y E A R BOOK
SUMMMARY
Tadeusz
O
Seweryn
-
THEORAWA
ORBIS
L
K
A
OF T H E POLISH
ACADAMY
OF
R
T
SCIENCES
XIV
I960
OFARTICLES
PICTUS
she l e a r n t h o w t o w e a v e d o u b l e s i d e d c a r p e t s f r o m
t h e l o c a l w e a v e r s i n Sokółka. S h e w a s t h e n u s i n g
T h e a u t h o r analyses t h e paintings on a w a r d r o b e
f a c t o r y designs.
Bujnowska's
creative i n d i v i d u a l i t y
f r o m t h e region o n t h e River Orawa, presented t o
began t o develop after t h e w a r , w h e n
she w a s
the Ethnographic M u s e u m i n Cracow
i n 1925 b y w o r k i n g i n t h e P o d l a s k a
A r t a n d Folk Industry
E. M i k a f r o m L i p n i c a W i e l k a ( o n t h e R i v e r O r a w a ) .
Cooperative i n Węgrów, managed
b y Z. Tomrle.
T h e 69 p i c t u r e s d e c o r a t i n g t h e w a r d r o b e , p a i n t e d i n
The a i m of t h e cooperative w a s n o t o n l y t o revive
the first half o f the X I X century, a r e a valuable h i
t h i s t r a d i t i o n a l f i e l d o f w e a v i n g , b u t also t o create
s t o r i c a l r e l i c as t h e l a r g e s t g r o u p o f p i c t u r e s o f a l a y a n e w t y p e o f P o l i s h r e p r e s e n t a t i v e c a r p e t s u i t e d t o
c h a r a c t e r i n P o l i s h c o l l e c t i o n s a n d a l s o t h a n k s t o t h e c o n t e m p o r a r y needs ( i n t h e o l d t i m e s c a r p e t s w e r e
interesting creative i n d i v i d u a l i t y of the artist. A c c o r d
u s e d as b e d c o v e r s , etc., i n t h e v i l l a g e s ) . I n s p i r e d b y
i n g t o t h e d o n o r , t h e p i c t u r e s w e r e p a i n t e d b y h i s Z. T o m r l e , B u j n o w s k a d i s c a r d e d f a c t o r y d e s i g n s a n d
great grandfather M i k a , about w h o m w e were n o t
t u r n e d t o m o t i f s f r o m n a t u r e ( " G a r d e n " — f i g . 3).
successful i n g a i n i n g a n y d e t a i l e d i n f o r m a t i o n . M r Se
T w o conventions influenced h e r w o r k : one — t r a d i
w e r y n begins
h i s analysis of t h e paintings
with
tional compositions
based o n s i m p l i f i e d p l a n t o r
a d e s c r i p t i o n o f t h e w o r k m a n s h i p a n d t h e effects
geometrical motifs adapted t o the weaving technique;
used i n t h e p a i n t i n g s , p o i n t i n g t o t h e p a r t i c u l a r f o n d
the second — t h e n a r r a t i v e c o n v e n t i o n , r e f l e c t i n g t h e
ness o f t h e a r t i s t f o r l e a d w h i t e a n d b l a c k l i n e s ,
likings of the contemporaiy
f o l k artists, strongly
separating one p a i n t i n g f r o m another. A p a r t f r o m
encouraged
f o r a certain time b y propagators of
that, M i k a ' s modest
palette also i n c l u d e d
yellow
social subjects. B o t h these trends appear i n B u j n o w
o c h r e , v e r m i l l i o n , a z u r e a n d rose. A c h a r a c t e r i s t i c
ska's w o r k , h e r n a t u r a l i n c l i n a t i o n b e i n g
towards
feature of his a r t is t h a t h e p a i n t e d a l a p r i m a , w i t h
i l l u s t r a t i o n . S h e takes h e r m o t i f s f r o m t h e w o r l d i n
out m a k i n g a d r a w i n g first.
w h i c h she l i v e s , a n d i n h e r best w o r k ( „ R o a d t h r o u g h
t h e V i l l a g e " f i g . 7) s h e h a s f o u n d a n a r t i s t i c i n
I n t h e arrangement o f t h e various pictures there
terpretation suited t o the technique a n d w o r k m a n s h i p
is n o c o n t i n u i t y , e i t h e r i n c o m p o s i t i o n o r i n n a r r a t i v e .
of t h e c a r p e t s . I n s o m e o t h e r o f h e r c a r p e t s s h e
O n e c a n o n l y d i s t i n g u i s h series o f s u b j e c t s : scenes
reverts
to naturalism a n d the narrative
element
f r o m t h e circus, h u n t i n g , a n d t h e fair, i m a g i n a t i v e
confuses t h e o r d e r o f t h e c o m p o s i t i o n ( „ B e e - h i v e s i n
f o l k p i c t u r e s , peasants
a n d lords a n d pictures of
t h e O r c h a r d " f i g . 11). S e e i n g t h e d a n g e r t h r e a t e n i n g
a n i m a l s . T h e a u t h o r discusses b r o a d l y these series
Bujnowska, t h e M i n i s t r y o f Culture and A r t took a n
of p i c t u r e s a t t h e s a m e t i m e p o i n t i n g t o t h e s o u r c e
interest i n her, ensuring h e r advice f r o m
plastic
of i n s p i r a t i o n d r a w n f r o m t h e w o r l d i n w h i c h t h e
artists. A n i m p o r t a n t role w a s played here b y P r o
a r t i s t l i v e d ( v i s i t s t o t h e c i r c u s , scenes a n d p e o p l e
fessor E . Plutyńska, w h o h e l p e d B u j n o w s k a t o m a s t e r
f r o m h i s life, f o l k l o r e , t h e beliefs o r general m o r a l
the laws of w o r k m a n s h i p , teaching h e r the t r a d i t i o n a l
t e n d e n c e s o f those t i m e s , f o r i n s t a n c e , t h e c o n d e m
colour technique a n d t h e principles of composition,
n a t i o n o f d r u n k e n n e s s ) . O n t h e basis o f t h i s a n a l y s i s ,
Bujnowska's r i c h inventiveness enabled her to depart
M r S e w e r y n describes t h e a r t i s t a s : a r e p o r t e r - c a r i
f r o m t h e o l d forms a n d create h e r o w n k i n d of
caturist, a moralist a n d lampooner. Elsewhere, h e
stresses h i s t a l e n t as a p o r t r a i t p a i n t e r ( f i g . 2). „ I n c a r p e t . I n t u r n , h e r w o r k h a d a n i n f l u e n c e o n t h e
o t h e r w e a v e r s o f t h e Sokółka r e g i o n w h o h a d a l r e a d y
t h i s w o r k o n e c a n see t h e d e v e l o p m e n t o f t h e a r t i s t —
learned good w o r k m a n s h i p (thanks t o Professor P l u writes the author i n conclusion — f r o m the p r i m i t i v e
tynska's m a n y years w o r k among them). I n several
vision characteristic of a child's drawings, t h r o u g h
cases t h e y i m i t a t e d B u j n o w s k a ' s s u b j e c t c o m p o s i t i o n s
d r a w i n g s f r o m n a t u r e , t o pictures based on t h e w o r l d
a l m o s t t o t h e l e t t e r ( f i g . 8) w h i l e i n o t h e r c a r p e t s
as t h e a r t i s t s a w a n d r e m e m b e r e d
i t and finally
t h e y h a v e m a d e , o n e c a n see i n t e r e s t i n g v e r s i o n s o f
paintings f r o m his imagination".
m o t i f s t a k e n f r o m B u j n o w s k a ' s w o r k ( f i g . 23).
Aleksander
DOUBLE
Blachowski
CARPET
-
DOMINIKA
BUJNOWSKA,
WEAVER
Double-sided carpets a r e k n o w n i n Scandinavia,
L i t h u a n i a , a n d i n some n o r t h eastern regions of P o
l a n d and a r e made both f o r the villager's themselves
a n d f o r t h e t o w n s . T h o s e m a d e f o r use i n t h e v i l l a g e s
are i n f l u e n c e d b y factory m a d e carpets, w h i l e t h e
carpets m a d e f o r t h e t o w n s contain m o r e t r a d i t i o n a l
elements (both w i t h
regard
to workmanship a n d
motifs), a n d inventiveness on the p a r t of the weavers.
A m o n g t h e most i n t e r e s t i n g o f these w e a v e r s is D o
m i n i k a B u j n o w s k a . B o r n i n 1903 i n Białystok d i s t r i c t ,
she has b e e n w e a v i n g s i n c e h e r c h i l d h o o d , b u t l e a r n t
the various techniques of carpet w e a v i n g i n a vocat
i o n a l s c h o o l a t a c o n v e n t (1928 t o 1930). A f t e r 1930
Norbert
Lippoczy
-
OSKWAREK
PAINTS
AGAIN
Norbert
Lippoczy, a w e l l
known
collector of
p a i n t i n g s o n glass, w e l c o m e s i n h i s a r t i c l e t h e r e t u r n
to creative w o r k of K a r o l Oskwarek, w h o abandoned
p a i n t i n g i n 1939, because h i s f i n e w o r k s w e r e c o n
sidered a faked i m i t a t i o n o f ancient f o l k paintings.
I n t h e y e a r s 1930—39 h e p a i n t e d a n o n y m o u s l y a n d
then stopped h i s creative w o r k altogether.
E n c o u r a g e d b y t h e assistance o f t h e State a f t e r
the war, he resumed his w o r k a n d took part i n
a competition and exhibition of Podhale art. Norbert
Lippoczy considers O s k w a r e k t h e most distinguished
contemporary
continuator
of o l d popular
glass
painting.
127
Franciszek
CENCES
Kotula
—
FOLLOWING
EMILIA
CHMIEL
HER
DEATH)
(REMINIS
T h e a u t h o r g i v e s a p e n p o r t r a i t of E m i l i a C h m i e l ,
the f o l k sculptress f r o m Rzeszów Voivodship,
who
died recently. E m i l i a C h m i e l began her artistic w o r k
f r o m p a i n t i n g t h e pots m a d e b y her h u s b a n d . E n
c o u r a g e d b y h e r success, she b e g a n t o m a k e toys i n
clay. I n h e r h a r d life, the t u r n i n g p o i n t was the
p r i z e she w o n a t a n e x h i b i t i o n o f f o l k a r t i n Ł a ń c u t
i n 1947. H e r success d i d n o t s p o i l t h e a r t i s t . U n t i l
t h e e n d she r e t a i n e d h e r i n d i v i d u a l i t y as
maker
of c e r a m i c f i g u r e s c o m b i n i n g t h e t r u t h a b o u t l i f e
w i t h a sense of s c u l p t i n g t e c h n i q u e .
Roman
Reinfuss
COMPETITION.
-
THE
XV
POST-WAR
CRIB
The annual crib competition i n Cracow was m a r
k e d f o r t h e l a r g e n u m b e r of e n t r i e s a n d t h e i r v a r i e t y .
I t w a s s u r p r i s i n g h o w m a n y c r i b s w i t h stages f o r
n a t i v i t y scenes w e r e e n t e r e d as t h e y h a v e b e e n a r a r e
t h i n g d u r i n g recent years.
T h e j u r y a w a r d e d t w o e q u a l f i r s t p r i z e s to W ł a
dysław W i a t r a n d Zdzisław D u d z i k . T h e f o r m e r f o r
a c r i b s t a n d i n g out f r o m t h e others w i t h its excellent
proportions, beautiful colour scheme a n d
carefully
finished decorative detail and
the
latter
—
for
c o r r e c t a r c h i t e c t u r e a n d t h e b e a u t i f u l c o l l e c t i o n of
p u p p e t s (fig. 5).
Particular interest was aroused by old Tomasz
Łata f r o m a P o d h a l e village, w h o entered a t y p i c a l
r u r a l crib, primitive, but equipped w i t h
mechanism
f o r m o v i n g t h e p u p p e t s ( f i g . 1, 2). A .
Wojciechowski
(fig. 4) a n d Z. G o d y r i m a d e a n a t t e m p t to o v e r c o m e
t h e f l a t n e s s t y p i c a l of m o s t c r i b s , a n d A d a m B u j a k , i n
s e e k i n g a n e w f o r m , t o o k as h i s s t a r t i n g p o i n t t h e
three-tower
a r m s of C r a c o w , O n t h e o c c a s i o n
of
the jubilee crib
competition,
the
author
recalls
t h a t d u r i n g t h e p a s t 15 y e a r s a t o t a l of 528 c r i b s
had been entered for the competitions, and the n u m
b e r of c r i b m a k e r s w a s 216, o u t of w h i c h h a l f w e r e
manual workers.
Anna
VENIR
Kunczyiiska
-
FOLK
COMPETITION
IN
AND
ARTISTIC
SOU
BYDGOSZCZ.
As the f o l k art m o v e m e n t develops, the need f o r
s o u v e n i r a r t i c l e s is g r o w i n g . I n c o n n e c t i o n w i t h t h i s ,
a competition for f o l k and artistic souvenirs
from
Bydgoszcz V o i v o d s h i p
was organized
i n December,
1959.
The competition d i d not b r i n g the expected results.
The entries represented, above a l l , folk a r t not suited
f o r „souvenirs" w h i l e a m o n g the t y p i c a l
souvenir
t y p e of w o r k there was a lot of cheap t r a s h . O n l y
the painted ceramic w a r e f r o m the factory i n Wloclaw e k is w o r t h y of m e n t i o n (fig. 5). T h i s w a s t h e f i r s t
c o m p e t i t i o n of i t s k i n d i n t h i s p a r t o f P o l a n d a n d
the participants d i d not really understand w h a t was
r e q u i r e d of t h e m . O n the other h a n d , the c o m p e t i t i o n
was an interesting r e v i e w of the m o d e r n f o l k a r t
of t h a t r e g i o n , a n d
brought
to l i g h t some
new
a r t i s t s , a b o v e a l l , t h e s c u l p t o r s F. M a i k ( f i g . 2) a n d
K . Z i o m k o ( f i g . 7) a n d K . P o l a n k i e w i c z ( f i g . 6), Z . L e wandowska
a n d A . S z e w c z y k ( f i g . 9) w h o
entered
embroidery.