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Media
Part of Summary/ Polska Sztuka Ludowa - Konteksty 1960 t.14 z.3
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P
O
L
QUARTERLY
I
S
PUBLISHED
H
F
O
BY THE ART INSTITUTE
N. 3
OF
L
K
THE POLISH
A
ACADAMY
OF
Y E A R BOOK X I V
R
T
SCIENCES
I960
SUMMMARY O F A R T I C L E S
Jerzy
Pietrusiński
ICON
DAUBING.
-
EASTERN
MAŁOPOLSKA
Research
on late Byzantine and Byzantine-like
p a i n t i n g i n P o l a n d has n o t y e t g o n e f a r e n o u g h t o
determine definitely the artistic origin of icon paint
ing, its trends a n d technique, or to establish its
authorship, date a n d t h e social d e m a n d f o r i t . I t
is t r u e t h a t , a p a r t f r o m t h e R u s s i a n i n f l u e n c e f r o m
M o s c o w a n d N o v g o r o d , t h i s t r e n d has also
been
t r a c e d to t h e B a l k a n s , b u t these observations have
n o t b e e n s u f f i c i e n t l y v e r i f i e d . T h e r e has also b e e n
too l i t t l e a r c h i v e research.
The archive material
p u b l i s h e d so f a r p o i n t s t o t h e f a c t t h a t p a i n t e r s
of i c o n s , w h o u p t o t h e m i d d l e o f t h e 1 6 t h c e n t u r y
served royalty, began to belong to guilds a n d even
to groups o f i c o n daubers ( „ p i c t o r
suburbanus").
T h e purchasers of icons produced b y these guilds
a n d daubers were m o s t l y the clergy a n d towns
people, m a i n l y i n Russia, b u t t h e r e w e r e also P o l i s h
i c o n p a i n t e r s a n d P o l i s h purchasers. T h e basis f o r
o u r p r e s e n t r e s e a r c h a r e r e l i c s t h a t c a n be d e f i n i t e l y
d a t e d . T h e a u t h o r of t h e a r t i c l e a n a l y s e s a g r o u p
of specimens of icon p a i n t i n g p r o d u c e d i n Eastern
M a ł o p o l s k a (on t h e U k r a i n i a n border) w h e n t h i s a r t
w a s a l r e a d y b e g i n n i n g t o d i e out (17th a n d 18th cen
turies). T h e p r i m i t i v i s m a n d occidentalism of the
B y z a n t i n e - l i k e p a i n t i n g of t h a t region is t h e m a i n
motif influencing both the f o r m and style a n d the
i c o n o g r a p h i c c o m p o s i t i o n schemes as w e l l as
the
purport and meaning they symbolized. A n example
of t h e c h a n g e s t a k i n g p l a c e i n t h i s a r t a r e t h e i m a g e s
of St. G e o r g e d a t i n g b a c k t o t h e s e c o n d h a l f o f t h e
16th c e n t u r y ( f i g . 9-12) a n d „ D e a t h of t h e V i r g i n
M a r y " , f r o m t h e 17th a n d 1 8 t h c e n t u r i e s ( f i g . 1 3 - 2 1 ) .
H e r e one can trace t h e change f r o m t h e eastern
B y z a n t i n e - l i k e a r t to the conventional B a r o q u e - l i k e
a r t o f the West. I n the group of icons presented
here, some o f t h e m b o r d e r on f o l k a r t , w h i l e others
b o r d e r on the professional a r t of the guilds a n d
t h e d a u b e r s . A l l of t h e m a r e c h a r a c t e r i z e d b y t h e
p r i m i t i v i z a t i o n of B a r o q u e - l i k e forms, p a r t l y o r i g i n
a t i n g f r o m b o o k i l l u s t r a t i o n s . T h e f o l k i c o n s ( f i g , 20,
27, 29), i n s p i t e o f t h e v i s i b l e i n f l u e n c e o f B a r o q u e
l i k e s t y l i z a t i o n , a r e h o w e v e r n o t s i m p l y copies of
this art. T h e i r p r i m i t i v i s m results n o t o n l y
from
a l a c k o f t r a i n i n g i n technique, t h e y also h a v e t h e
s i m p l i c i t y of f o r m peculiar to f o l k artists a n d the
characteristic simple s y m m e t r y i n the arrangement
o f t h e f i g u r e s , i n t h e f e a t u r e s o f t h e faces a n d i n
the azure coloured background. This simplicity can
190
be
seen i n t h e
symbolic backgrounds
replacing
i l l u s i o n i s t s c e n e r y ( f i g . 30), i n t h e f r e e , s k e t c h y o u t
l i n e o f t h e f i g u r e s , w h o s e faces a r e c h a r a c t e r i s t i c
of t h e p h y s i o g n o m y o f t h e p e a s a n t s , a n d t h i s is
e v i d e n t i n t h e f o l k i c o n s f r o m t h e e n d o f t h e 17th
century. T h e f o l k icons take the o l d iconographic
schemats a n d t h e i r hieratic, representative character,
i n t r o d u c i n g n e w e m o t i o n a l v a l u e s . H e r e ' w e see a s o r t
of „ r e a l i s m " i n t h e m e a n s of e x p r e s s i o n , a i m e d a t
f a c i l i t a t i n g u n d e r s t a n d i n g of the religious m e a n i n g .
T h e f o l k i c o n s go h a n d i n h a n d w i t h g r a p h i c a r t ,
w h i c h was often the source of i n s p i r a t i o n . T h e chan
ges i n i c o n p a i n t i n g i n t h e 1 7 t h a n d 1 8 t h c e n t u r i e s
w e n t so f a r t h a t , a p a r t f r o m t h e i c o n o g r a p h i c sche
mat, v e r y l i t t l e r e m a i n e d of the B y z a n t i n e - l i k e t r a
ditions i n painting.
I n conclusion, the a u t h o r calls f o r research i n t o
the o r i g i n of f o l k p a i n t i n g i n Eastern
Małopolska
f r o m the p o i n t of v i e w of the influence exercised
by icon painting.
Roman
Reinfuss
VAKIA
(Notes f r o m
— FOLK
ART
I N CZECHOSLO
a V i s i t i n 1959)
G i v i n g his observations a b o u t t h e s i t u a t i o n i n f o l k
art i n Czechoslovakia, the author writes that the
degree t o w h i c h i t has s u r v i v e d i n v a r i o u s p a r t s
of t h e c o u n t r y varies considerably. F o r instance, i n
Bohemia, t h e most h i g h l y i n d u s t r i a l i z e d p a r t of the
c o u n t r y , w h i c h has b e e n u n d e r t h e i n f l u e n c e o f t h e
W e s t f o r c e n t u r i e s , f o l k a r t has d i e d o u t t o a m u c h
greater extent. T h e h i s t o r i c a l changes i n d e v e l o p
m e n t c a n be seen, a m o n g o t h e r s , i n t h e a r c h i t e c t u r e
i n t h e v i l l a g e s , w h e r e w e see f o r m s r e s u l t i n g f r o m
folk influence o n the architecture of the towns
( f i g . 1, 2). T h e u r b a n i n f l u e n c e c a n a l s o b e s e e n i n
i n t e r i o r d e c o r a t i o n a n d is also o u s t i n g f o l k costumes,
w h i c h are o n l y m e t w i t h n o w among the w o m e n
of t h e so-called „ C h o d s k " ( r o u n d the t o w n of D o m a z l i c e ) . A r t i s t i c f o l k h a n d i c r a f t s d i e d o u t as f a r
b a c k as t h e t u r n o f t h e 1 9 t h a n d 2 0 t h c e n t u r i e s ,
o r w e r e a d a p t e d t o s u i t t h e needs o f t h e t o w n s .
One can o n l y f i n d f o l k sculptures i n t h e museums.
T h i s s a m e process i n M o r a v i a s t a r t e d a l i t t l e l a t e r ,
a n d thanks to this there are still w e l l
preserved
specimens of t i m b e r buildings a n d clay huts w i t h
p o l y c h r o m i e o r n a m e n t a t i o n ( f i g . 5.). I n s i d e t h e c o t t
ages, i n s p i t e o f i n s t a l l a t i o n s a n d f u r n i t u r e o n t h e
u r b a n m o d e l , one meets w i t h p a i n t e d coffers a n d
folk benches ( i n C z e c h o s l o v a k Silesia, t h e old interior
decorations do n o t differ f r o m t h e i n t e r i o r s of S i l e s i a n h i g h l a n d e r s ' cottages o n t h e P o l i s h side). T h e
f o l k costumes, s t i l l w o r n d u r i n g t h e i n t e r - w a r p e r i o d ,
have n o w disappeared. One meets here a n d
there
r e m a i n s o f t h e o l d f o l k h a n d i c r a f t s . F o l k a r t has
s u r v i v e d to the greatest degree i n the parts of Slo
v a k i a t h a t are the least a n d latest i n d u s t r i a l i z e d .
Particularly
in
the
most conservative
Ukrainian
v i l l a g e s o n e c a n s t i l l see r e l i c s o f t h e o l d m a t e r i a l
a n d s o c i a l c u l t u r e . B u t h e r e , as i n t h e w h o l e o f S l o
v a k i a , changes are b e g i n n i n g to t a k e place w h i c h
are ousting the t r a d i t i o n a l culture. H o w e v e r , o l d
b u i l d i n g s h a v e been w e l l p r e s e r v e d here, a n d t h e r e
are some good specimens o f t r a d i t i o n a l i n t e r i o r s w i t h
d e c o r a t i v e m u r a l p a i n t i n g s ( f i g . 7) a n d i n t h e houses
t h e r e a r e a l s o r e l i c s o f f o l k a r t s u c h as f u r n i t u r e ,
o r n a m e n t e d tools, o l d c e r a m i c w a r e , i n c l u d i n g the
grey ceramic w a r e produced here t i l l the i n t e r - w a r
period. H e r e there are q u i t e a n u m b e r of f o l k
pottery
workshops and hand
printing works still
operating. Folk
costumes
are
w o r n on holidays.
P a i n t i n g s o n glass, w h i c h a r e b e c o m i n g e v e r m o r e
r a r e , a r e u s u a l l y f o u n d i n t h e r e g i o n o f Spis. F o l k
s c u l p t u r e i n t h e s e p a r t s has s u r v i v e d w e l l a n d c a n
even be f o u n d i n the t o w n s i n shrines i n niches on
t h e w a l l s o f houses.
Thanks to the i m p o r t a n t role played by
folk
culture i n the p e r i o d o f the national r e b i r t h of the
Czechs a n d t h e S l o v a k s i n t h e 1 9 t h c e n t u r y , i t soon
became t h e object of scientific research. A l r e a d y
i n 1894 t h e N a r o d o p i s n a S p o l e c n o s t
Ceskoslovenska
w a s set u p t o c a r r y o u t r e s e a r c h i n t o t h e
folk
c u l t u r e o f t h e S l o v a k s , a n d i n 1895, a n e t h n o g r a p h i c
e x h i b i t i o n was organized i n Prague, w h i c h initiated
the campaign of collecting specimens o f f o l k
art
i n m u s e u m s . A t p r e s e n t , r e s e a r c h is b e i n g c o n d u c t e d
by the E t h n o g r a p h i c Institutes of t h e Ceskoslovenska
Akademia Vied i n Prague (with a branch i n Brno)
and of the Slovenska A k a d e m i a V i e d i n Bratislava.
C e n t r e s a t t h e u n v e r s i t i e s a n d at n u m e r o u s m u s e u m s
a r e also c o n d u c t i n g r e s e a r c h o n f o l k c u l t u r e .
T h e lack of an i n s t i t u t i o n i n Czechoslovakia w h i c h
c o u l d c o n d u c t ^research i n t o f o l k a r t is t h e reason
for neglect i n this f i e l d . T h e o n l y centre to conduct
l o c a l r e s e a r c h is t h e „ U s t r e d i L i d o v e a U m e l c k e
Vyroby", but only w i t h the a i m of examining the
p r o d u c t i o n possibilities of f o l k handicrafts. T h e same
centre takes a l i v e l y interest i n f o l k products, and,
being guided mainly
b y economic
considerations
a l l o w s too m u c h i n t e r v e n t i o n f r o m t r a i n e d artists
who are r e d u c i n g f o l k a r t to t h e role of r e p r o d u c i n g
patterns s u p p l i e d f o r this purpose.
The
Svez
Ukraińskich
Pracujucich
in
Presov
collects a n d publishes m a t e r i a l s f o r the e t h n o g r a p h y
of t h e U k r a i n i a n p o p u l a t i o n . T h e e t h n o g r a p h i c c o l
lections i n Bohemia a n d M o r a v i a , n u m b e r i n g over
43,000 e x h i b i t s , a r e t o be f o u n d i n 250 m u s e u m s a n d
i n S l o v a k i a , i n a b o u t 15 m u s e u m s . T h e s e e t h n o g r a p h i c
m u s e u m s a r e sections i n m a n y - d e p a r t m e n t
museums
a n d t h i s l a c k o f i n d e p e n d e n c e has a n a d v e r s e e f f e c t
on
their development. The exhibits are
arranged
according to the h i s t o r i c a l o r d e r of a topographical
museum. The ethnographic materials are very mo
destly represented i n r e l a t i o n to the collections i n
the store-houses of t h e museums, w h i l e the u n i f o r m
s c h e m a t o f t h e e x h i b i t s erases t h e i r i n d i v i d u a l f e a
tures. T h e w o r k e r s o f the museums keep scientific
files, m a k e i n v e n t o r i e s , do c o n s e r v a t i o n w o r k , c o n
duct educational campaigns a n d organize exhibitions.
I n 1952 a S k a n s e n m u s e u m w a s o p e n e d i n M o r a v i a
(Roznov). T h e question o f Skansens is n o w t o p i c a l
o w i n g to the devastation o f m a n y historical relics.
In
conclusion, the author informs the
reader
about
Czechoslovak
p u b l i c a t i o n s devoted to
folk
c u l t u r e , a m o n g w h i c h s p e c i a l m e n t i o n i s d u e to the
series „ M a l e t i s k y " ( s m a l l p r i n t s ) i s s u e d b y t h e E t h n o
graphic Department i n Brno and edited by L . Kunz,
a n d also t h e y e a r b o o k „ N o v e o b z o r y " i s s u e d b y t h e
voivodship m u s e u m i n Presov, the q u a r t e r l y „ V a lassko" issued b y the m u s e u m i n B r n o a n d lastly
„Radostna
Zeme" published by Slesky Ustav i n
Opava.
Vladimir
Scheufler
WARE
IN THE
(Prague)
BOHEMIAN
—
BLACK
CERAMIC
TERRITORIES
T h e a u t h o r deals w i t h t h r e e
groups
of
black
ceramic w a r i n Bohemia: graphite, smoked
and
b l a c k e n e d w a r e . G r a p h i t e c e r a m i c w a r e ( f i g . 1, 2)
is m a d e f r o m c l a y w i t h p o w d e r e d g r a p h i t e a d d e d t o
make i t m o r e durable. I t was used i n pre-histonc
t i m e s f o r vessels of e v e r y d a y
use.
I n the
times
recorded b y history i t was
used
exclusively for
t e c h n i c a l purposes. T h i s t y p e of c e r a m i c w a r e w a s
widespread i n the m i n i n g regions of B o h e m i a a n d
M o r a v i a to meet the needs of m i n i n g a n d m e t a l l u r g y ,
a n d w a s used to m a k e m i n e r s ' lamps, s m a l l crucibles
a n d s t o r a g e vessels. T h e s e u t e n s i l s d i s a p p e a r e d i n
the 17th a n d 18th centuries i n c o n n e c t i o n w i t h the
d e v e l o p m e n t o f t e c h n i q u e . O r n a m e n t a t i o n is r a r e l y
m e t w i t h i n g r a p h i t e ceramic w a r e a n d is t h e n
l i m i t e d to engraved h o r i z o n t a l lines, either s t r a i g h t
or w a v y . T h e s e u t e n s i l s w e r e u s u a l l y m a d e b y t h e
local potters.
Smoked ceramic w a r e was very widespread i n
B o h e m i a (fig. 3-9), a n d the methods o f its p r o d u c t i o n
did
not differ
in principle from
the
technique
a p p l i e d i n o t h e r c o u n t r i e s . T h e vessels w e r e b a k e d
once a n d a t t h e e n d o f t h e b a k i n g a l l t h e o p e n i n g s
i n t h e f u r n a c e w e r e s t o p p e d u p so t h a t t h e soot
w h i c h t h e n f o r m e d s e t t l e d o n t h e vessels.
After
h a v i n g b e i n g r e m o v e d f r o m t h e f u r n a c e t h e vessels
w e r e p o l i s h e d , e i t h e r a l l o v e r o r p a r t i a l l y ( f i g . 6,
8, 9) w h i c h process g a v e a s i m p l e o v a l o r n a m e n t a t
ion.
S o m e t i m e s t h e s e vessels w e r e d e c o r a t e d
with
engraved or stamped pattents. This smoked ceramic
mass w a s m o r e d u r a b l e t h a n t h e r e d c e r a m i c w a r e .
Furnaces
suitable for producing smoked
ceramic
w a r e w e r e k n o w n i n B o h e m i a as f a r b a c k as t h e
9th c e n t u r y , a n d i n t h e m i d d l e ages, t h e s m o k i n g o f
c e r a m i c w a r e w a s a t e c h n i q u e as w i d e s p r e a d as r e d
ceramics a n d represented
a l l forms of mediaeval
B o h e m i a n c e r a m i c vessels.
B u t the most common
f o r m w a s p o t s a n d j u g s f o r k e e p i n g f o o d i n . Vessels
for
ornamental
purposes w e r e n o t smoked,
and
therefore smoked ceramic w a r e w a s m o r e c o m m o n
in the c o u n t r y s i d e t h a n i n the t o w n s . I n the 16th
century, the ever m o r e p o p u l a r glazed ceramic w a r e
l i m i t e d t h e use o f s m o k e d c e r a m i c s o n l y t o c e r t a i n
t y p e s o f vessels ( f o r s t o r a g e , f e r m e n t a t i o n , etc.). A t
t h e e n d o f t h e 18th c e n t u r y s m o k e d c e r a m i c w a r e
disappeared i n the regions
where there
was
the
g r e a t e s t t e c h n i c a l progress, b u t i t r e m a i n e d t i l l t h e
2 0 t h c e n t u r y ( f i g . 8, 9) i n t h e m o s t e c o n o m i c a l l y a n d
c u l t u r a l l y b a c k w a r d areas.
Such w a r e
was
still
p r o d u c e d i n 1945 at p o t t e r y w o r k s h o p s i n M i l e v s k ,
Svarka,
Kunstat,
Valassko,
Klobouky
and
Val.
M e z i r i c . A t p r e s e n t s m o k e d c e r a m i c w a r e is p r o d u
ced i n v e r y s m a l l q u a n t i t i e s a n d solely f o r deco
r a t i v e purposes.
T h e t h i r d type of black ceramic w a r e is
the
b l a c k e n e d v a r i e t y , (after b a k i n g , a s o l u t i o n o f soot
a n d v i n e g a r is r u b b e d i n t o the
vessel
which
is
afterwards polished).
O n t h e basis o f i n f o r m a t i o n
c o l l e c t e d , t h e a u t h o r s t a t e s t h a t t h i s t y p e o f vessel
was p r o d u c e d i n M i l e v s k , a l t h o u g h no
specimens
were found.
There are not
many
specimens
of
ceramic w a r e i n the museums either, a n d
blackened
not m u c h
191
r e s e a r c h has b e e n m a d e i n t o t h i s t e c h n i q u e . T h e
a u t h o r gives a list o f the m o s t i m p o r t a n t p u b l i c a t i o n s
o n t h i s k i n d o f c e r a m i c w a r e a t t h e e n d of h i s
article.
Franciszek
MAKER
Kotula
OF
—
CARVED
WINCENTY
JASKIER
—
TOYS
W . J a s k i e r , b o r n i n 1892 i n D ę b i c a d i s t r i c t ( R z e
s z ó w V o i v o d s h i p ) , b e g a n t o c a r v e i n w o o d as a s m a l l
boy w h i l e t e n d i n g cows. L a t e r he stopped c a r v i n g
o w i n g t o l a c k o f t i m e . I t w a s o n l y a f e w y e a r s ago,
as a n o l d m a n i n c a p a b l e o f d o i n g h e a v y f a r m w o r k ,
that he started tending cows again a n d w e n t back
t o h i s c r e a t i v e w o r k . H e c a r v e s toys f o r c h i l d r e n i n
w o o d : carts, w i n d m i l l s , b i r d s a n d a n i m a l s , d r a w i n g
the outline first on a t h i c k board f r o m w h i c h he
carves t h e m w i t h a pocket
knife.
H e takes
the
subjects f o r his w o r k f r o m his surroundings, f r o m
h i s o b s e r v a t i o n s . A n e x c e p t i o n is t h e „ L i o n " ( f i g . 3, 4).
c a r v e d f r o m a d r a w i n g he f o u n d i n a book. Jaskier
does n o t c a r v e h u m a n f i g u r e s , i n . s p i t e of t h e f a c t
t h a t t h e p a r i s h p r i e s t has t r i e d t o p e r s o u a d e h i m t o
carve religious figurines. A p a r t f r o m m a k i n g toys,
h e a l s o m a k e s b a s k e t s f o r h i s o w n use a n d f l o w e r
pot stands of fine w o r k m a n s h i p . B u t they have not
t h e s a m e a r t i s t i c v a l u e s as h i s c a r v e d a n i m a l s , o f
s y n t h e t i c f o r m , severe, h e a v y b l o c k s a n d p a i n s t a k
i n g l y s m o o t h e d surfaces, s o m e of w h i c h a r e o r n a
m e n t e d w i t h e n g r a v i n g b r i n g i n g out certain details
i n decorative r h y t h m .
Henryk
Świątkowski
— OLD ŁOWICZ
EMBROIDERY
One of the oldest fields of decorative f o l k a r t
i n t h e Ł o w i c z r e g i o n is e m b r o i d e r y . T h e c o m p o s i t i o n
of the design, decorative m o t i f s a n d colour scheme
has n o e q u a l a n y w h e r e i n P o l a n d . I n a d e t a i l e d a n a
l y s i s of Ł o w i c z e m b r o i d e r y , H . Ś w i ą t k o w s k i d e s c r i b e s
the technique of the o l d stitches: back stitch a n d
c h a i n s t i t c h t h e d e c o r a t i v e m o t i f s ( f i g . 2) a n d t h e
colour scheme.
E m b r o i d e r y w a s f i r s t u s e d as a d e c o r a t i o n t o
costumes i n the m i d d l e of t h e 19th c e n t u r y . I n l a t e r
years i t developed greatly, its f o r m s becoming ever
more complex. A t the
end of the last
century,
the o l d Ł o w i c z e m b r o i d e r y began to die out. T h e
range of colours a n d technique u n d e r w e n t a change.
T h e n e w f a s h i o n b r o u g h t i n cross s t i t c h e m b r o i d e r y ,
and, i n consequence, a change i n t h e
ornamental
motifs.
D u r i n g the i n t e r - w a r period, a n u m b e r of lovers
of f o l k a r t t r i e d t o p e r s u a d e t h e Ł o w i c z e m b r o i d e r e r s
to r e t u r n to the t r a d i t i o n a l Ł o w i c z pattenrns. A f t e r
the last w a r this campaign was taken up by the
C P L i A (Union of F o l k a n d A r t i s t i c I n d u s t r y Cooper
a t i v e s ) . B u t t h e s y s t e m o f mass p r o d u c t i o n d i d n o t
h a v e a good effect on the results, w h i c h d i d not
s u c c e e d i n r e v i v i n g t h e b e a u t i f u l t r a d i t i o n s of o l d
Łowicz embroidery.
Olga
BY
Mulkiewicz
-
EXHIBITION
THE INHABITANTS
OF
OF
FOLK
ART
GORLICE
P o i n t i n g to t h e fact thas i n s u f f i c i e n t research is
conducted on the c u l t u r e of t h e people of Gorlice,
situated at the foot of the m o u n t a i n s i n R z e s z ó w
Voivodship,
the
author
stresses
the
importance
of t h e e x h i b i t i o n w h i c h g i v e s a p i c t u r e o f t h e f o l k
a r t achievements of t h a t area. T h e e x h i b i t s o f o l d
historic relics a n d c o n t e m p o r a r y w o r k showed
the
v i t a l i t y of this a r t a n d its t r a d i t i o n a l forms. T h e
e x h i b i t i o n shows a w i d e range of f u r n i t u r e m a d e b y
f o l k a r t i s t s , as w e l l as i n t e r i o r d e c o r a t i o n s , c a r v e d
objects w i t h b u r n t o r engraved o r n a m e n t a t i o n , basket
w o r k — w h i c h is o f a p a r t i c u l a r l y h i g h s t a n d a r d i n
this area — not to m e n t i o n pottery, sculptures, f o l k
c o s t u m e s , l a c e a n d r i t u a l o b j e c t s of a r t i s t i c e x e c u t i o n .
The
exhibits
also
included
paintings
on
paper
serving to decorate w a l l s and representing a field
of
contemporary
f o l k a r t w h i c h has b e e n c o n s i d e r a b l y
developed recently.
CZASOPISMA
INSTYTUTU SZTUKI
wydawane
P.P.
WYDAWNICTWA
PAN
przez
ARTYSTYCZNE
I
FILMOWE
B I U L E T Y N HISTORII SZTUKI, kwartalnik,
p o n a d 100 s t r .
dużego
f o r m a t u , o k o ł o 100 i l u s t r a c j i . C e n a 24 z ł , p r e n u m e r a t a p ó ł r o c z n a 48 zł,
r o c z n a — 96 z ł .
POLSKA
SZTUKA
LUDOWA, kwartalnik
64 s t r . d u ż e g o f o r m a t u ,
b o g a t y m a t e r i a ł i l u s t r a c y j n y . C e n a 18 z ł , p r e n u m e r a t a p ó ł r o c z n a 36 z ł ,
r o c z n a — 72 z ł .
PRZEGLĄD
ARTYSTYCZNY,
kwartalnik
poświęcony
nowoczesnej
t w ó r c z o ś c i p l a s t y c z n e j , 80 s t r . d u ż e g o f o r m a t u , b o g a t a s z a t a i l u s t r a
c y j n a w t e c h n i c e r o t o g r a w i u r o w e j . C e n a 18 zł, p r e n u m e r a t a p ó ł r o c z n a
36 z ł , r o c z n a — 72 z ł .
P A M I Ę T N I K T E A T R A L N Y , k w a r t a l n i k , p o n a d 170 s t r . d r u k u ,
około
100 i l u s t r a c j i . C e n a 18 zł, p r e n u m e r a t a p ó ł r o c z n a 36 z ł , r o c z n a — 72 sl.
K W A R T A L N I K F I L M O W Y , o k o ł o 100 s t r . d r u k u , k i l k a n a ś c i e
C e n a 10 zł, p r e n u m e r a t a p ó ł r o c z n a 20 z ł , r o c z n a — 40 zł.
ilustracji.
M U Z Y K A , k w a r t a l n i k , o k o ł o 130 s t r . d r u k u , l i c z n e p r z y k ł a d y
C e n a 18 zł, p r e n u m e r a t a p ó ł r o c z n a 36 zł, r o c z n a — 72 zł.
nutowe.
PRENUMERATA
Z a m ó w i e n i a i p r z e d p ł a t y na p r e n u m e r a t ę p r z y j m o w a n e s ą w t e r m i n i e
d o d n i a 15-go m i e s i ą c a p o p r z e d z a j ą c e g o o k r e s p r e n u m e r a t y — p r z e z :
U r z ę d y Pocztowe, listonoszy oraz O d d z i a ł y
i Delegatury
„Ruchu".
M o ż n a r ó w n i e ż z a m ó w i ć p r e n u m e r a t ę d o k o n u j ą c w p ł a t y na
konto
PKO
nr
1-6-100020 — C e n t r a l a K o l p o r t a ż u
Prasy i
Wydawnictw
„ R u c h " — W a r s z a w a , u l . S r e b r n a 12.
C e n a p r e n u m e r a t y za g r a n i c ę j e s t o 40'/o d r o ż s z a o d c e n y p o d a n e j w y
ż e j . P r z e d p ł a t y na t ę p r e n u m e r a t ę p r z y j m u j e na o k r e s y
półroczne
i roczne P r z e d s i ę b i o r s t w o Eksportu i I m p o r t u „ R u c h " w Warszawie,
W i l c z a 48, k o n t o 2-6-71 w N a r o d o w y m B a n k u P o l s k i m w W a r s z a w i e ,
u l . W a r e c k a 10.
SPRZEDAŻ
A k t u a l n e n u m e r y czasopism Instytutu
Sztuki P A N
w większych księgarniach miast wojewódzkich.
są
do
nabycia
Egzemplarze zdezaktualizowane m o ż n a n a b y ć w sklepie „ R u c h u " przy
ul. Wiejskiej
14 w W a r s z a w i e . Z a m ó w i e n i a s p o z a W a r s z a w y n a l e ż y
k i e r o w a ć do Centrali K o l p o r t a ż u Prasy i W y d a w n i c t w
„Ruch", War
s z a w a , u l . S r e b r n a 12.
S t o ł e c z n e Z a k ł a d y Graficzne,
z . W . W - w a , P o d c h o r ą ż y c h 39.
k l . I I I , 120 g A l + k a r t o n b i a ł y k l . I I I , 200 g. B I . N a k ł a d
D r u k u k o ń c z o n o w s i e r p n i u 1960 r.
279.
1080
Pap. llustr.
egz. C-84.