https://zbiory.etnologia.uw.edu.pl/files/original/ed9c0327a201c6476120fb5deacd68a5.pdf 9fde91c5b85f2c6441bd7eeefd34fb97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Polska Sztuka Ludowa - Konteksty Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Relation A related resource oai:cyfrowaetnografia.pl:publication:3743 Date A point or period of time associated with an event in the lifecycle of the resource 1960 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:3516 Title A name given to the resource Summary/ Polska Sztuka Ludowa - Konteksty 1960 t. 14 z.2 Description An account of the resource Polska Sztuka Ludowa - Konteksty 1960 t. 14 z.2, s. 127-128 Language A language of the resource ang. Publisher An entity responsible for making the resource available Instytut Sztuki PAN Type The nature or genre of the resource czas. Format The file format, physical medium, or dimensions of the resource application/pdf PDF Text Text capture metadata for PDF documents Text 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 EMILIA — FOLLOWING HER CHMIEL (REMINIS­ DEATH) 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. �