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Paradoks sztuki narodowej i modernizmu. Władysław Strzemiński laureatem nagrody artystycznej miasta Łodzi w roku 1932

100%
Luba I.
Biuletyn Historii Sztuki
|
2012
|
vol. 74
|
issue 3-4
707-732
EN
The text focuses on an important event in the artistic history of the 2nd Polish Republic, i.e. awarding a prestigious Prize of the City of Łódź in 1932, on this occasion for the first time to an artist. The winner, as it turned out, was Władysław Strzemiński. Previously only writers had been awarded it and they strongly criticized the prize founders’ decision, considering it a deprivation of their own privilege. The originator of widening the prize’s formula, head of the Culture and Art Department at Łódź Municipality Przecław Smolik, though himself a writer and bibliophile. Awarding the prize to Strzemiński was an unprecedented event in the history of the artistic life in inter-war Poland. The social ranking of the prize was extremely high. Additionally, the question of the artistic Prize also became the direct cause of transferring in 1923 the discourse on the essence of the Avant-garde, and Constructivism in particular, from professional artistic journals to popular national press, as well as to periodicals conservative in their character. It was a phenomenon of a sudden and unexpected permeating of the issues of previously elitist art to mass culture circulation on an unprecedented scale.
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Pałac Rządowy na Powszechnej Wystawie Krajowej w Poznaniu. Propagandowa funkcja sztuki

100%
Luba I.
Biuletyn Historii Sztuki
|
2009
|
vol. 71
|
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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Malarstwo monumentalne II Rzeczypospolitej

100%
Luba I.
Biuletyn Historii Sztuki
|
2008
|
vol. 70
|
issue 3-4
479-512
EN
The subject of the article is monumental painting, understood as the carrying out of mural paintings with a large format intended as permanent decoration for major public buildings. In inter-war Poland, compared to the Third Reich, fascist Italy, the USSR, France and the USA, a flourishing of monumental painting was most eagerly desired by the artists themselves, but only in the smallest degree by the state authorities, which preferred other, considerably less expensive art form for state propaganda, such as that of a literary content. The final year of the Second Republic’s existence also brought in its wake attempts on the part of state institutions to take advantage of the potential of visual expression to convey state ideology by means of monumental painting, and thus the creation of suitable conditions for the development of this form of expression and representations. The fate of these state-oriented ambitions was sealed by the outbreak of the WWII.
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