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ChapterOne:Rytm’sExhibitions
53
supersedeSztuka?Bothgroupssharedtheanti-Impressionistsentiment,
butwithSztukainfluencedbyMunich,andtheyoungerRytmprimarilyby
Paris,thecontinuancewasmoreapparentineachgroup)sorganisational
andambassadorialaspirationsthanintermsoftheiraesthetics.62Itwas
inthecontextoftheirsenseofresponsibilityinmanaginglocalartistic
productionandinrepresentingitinternationallythatbothgroupssawtheir
aimsasbeingtoCachieve[...]apossiblyhighartisticlevelofexhibitions)-
arathervaguedescriptionusedbySkoczylasinconnectionwithRytm,
revealinglittleabouttheaestheticsoftheactualworks.63Itwasinthose
organisationalandambassadorialrolesthatRytmwaswidelyperceived
asthesuccessorofSztuka,moresuitableforthenewpoliticalsituation
inwhichPolandreappearedasayoungdemocraticstate.Apartfrom
precedingRytmastherepresentativeofPolishartabroad,Sztuka,withits
stronglinkswiththeViennaSecession,wasoneoftheimportantsources
ofRytm)slong-lastingcommitmenttotheequalityoffineandappliedarts,
discussedfurtherinChapterSix.
ThirdExhibition(1923):anAlliancewithWTAPand
Południe
Rytm)sthirdexhibitionhasnotbeengivenmuchscholarlyattention,
partlybecauseofthelimitedmaterialavailable:nocataloguewas
published,andlittlecontemporarycriticalcommentaryisavailable.
AndyettheexhibitionmarkedanimportantmomentforRytm,thestart
ofitslong-lastingalliancewithanartisticgroupfromVilniuscalled
WileńskieTowarzystwoArtystówPlastyków(CTeVilniusAssociation
62
TeshiffromKrakówtoWarsawasthecentreofPolishartwasparalleled
byachangeinthecourseoftheartists)foreigntravels:whilebeforetheGreatWarthestu-
dentsoftheKrakówFineArtAcademywouldnormallyspendsometimeonastipendin
MunichorVienna,thegenerationofthemembersofRytmmorefrequentlyaimedforPar-
is.In1924Sztuka)srelianceonViennaandMunich,andRytm)sonParis,asartisticcen-
tres,wasconstruedbyStanisławWoźnickiintoamajoroppositionbetweentheformer)s
perceivedsentimentalCsecessionism[and]ExpressionismofGermany)andthelatter)s
Cleaning[ł]ontheconstructiveaimsoftheLatinnations).Woźnicki,Codmalowniczości
dolinearyzmu.[ł]),pp.6-7(tr.1.38).
63
InthecatalogueofRytm)seleventhexhibitionin1932Skoczylaswrote:CTemain
aimofRytmistoachieve,mostofall,apossiblyhighartisticleveloftheorganisedby
itexhibitions,withawideconsiderationgiventocontemporaryartistictendencies.)
WładysławSkoczylas.CStowarzyszenieArtystówPolskich“Rytm”).WiadomościPlastycz-
ne(Warszawa,IPS),CSalonWiosenny“Rytmu”),Year1,May1932,pp.11-3,p.11(tr.1.39).
