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Propaganda wizualna Powszechnej Wystawy Krajowej

100%
Szablowska A. A.
Biuletyn Historii Sztuki
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2009
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vol. 71
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issue 4
529-547
EN
The premise of the 1929 exhibition was to represent all aspects of the Second Polish republic’s development on the tenth anniversary of regaining its independence. The paper discusses the form of posters, postcards and history of PWK logo abbreviating the exhibition’s Polish name Polska Wystawa Krajowa, translating literally: All-Poland National Exhibition, but apparently translated for purposes relating to official state-propaganda as the Polish National Exhibition.
2
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Pałac Rządowy na Powszechnej Wystawie Krajowej w Poznaniu. Propagandowa funkcja sztuki

100%
Luba I.
Biuletyn Historii Sztuki
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2009
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vol. 71
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issue 4
437-464
EN
The Poznań Exhibition of 1929 was organized with an aim to commemorating the tenth anniversary of Poland regaining its independence. An unusually important propagandist function was attached to the event held between 16th May and 30th September, this being as much intended for the Polish and emigrant recipient as guest and observers from beyond the Polish world. The task set the exhibition organizers was to demonstrate the excellent condition of the state, effectively eradicating the differences between the three former partitions.
3
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Architektura i sztuki plastyczne na Powszechnej Wystawie Krajowej w Poznaniu w 1929 roku. Bibliografia 1927-2009

100%
Faryna-Paszkiewicz H.
Biuletyn Historii Sztuki
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2009
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vol. 71
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issue 4
567-582
EN
Bibliography contains a bibliography of works (328 items) about architecture and art at the All-Poland Exhibition
4
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Nagie ciało architektury. Pawilon „Praca Kobiet” na Powszechnej Wystawie Krajowej

80%
Leśniakowska M.
Biuletyn Historii Sztuki
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2009
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vol. 71
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issue 4
501-527
EN
The ‘Women’s Labour’ Pavilion represents the debut of female architect Anatolia Hryniewiecka-Piotrowska (1896-1989). The pavilion was supposed to represent an architectural visualization of the so-called ‘women question’ in Poland, designed by a ‘woman engineer’ and carried out with funds collected by women. The paper discusses this design into the field of current art-historic research, which is critical towards the cannonised and mythologised history of modernism as cultural practice.
5
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Sztuka w rzemiośle na Powszechnej Wystawie Krajowej w Poznaniu

80%
Kostrzyńska-Miłosz A.
Biuletyn Historii Sztuki
|
2009
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vol. 71
|
issue 4
549-565
EN
A group of arts-and-crafts objects that it is possible to distinguish formed part of furnishings or exhibitions in individual parts of the overall one. The basic conclusion it is possible to make on the basis of the autor’s analysis of the representations of artistic crafts at the PWK (beyond the Palace of Art) is confirm the decided resonance between the postulations relating to aesthetics made by the lending creative figures of ‘applied art’ at that time, focused above all on ‘Ład’ and practice in the crafts in response to potential clients’ expectations, as well as purely artistic tendencies.
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