THE PALACE OF ART – SEAT OF THE FRIENDS OF THE FINE ARTS SOCIETY IN CRACOW

   The Palace of Art located in Cracow is the seat of the Friends of the Fine Arts Society created in 1854, being the oldest such organisation in this part of Europe. After long-term trials of arranging a new seat, which was necessary due to limited space capacity, having considered numerous potential locations, the Society was granted a lot at the edge of Szczepański Square, in exchange for Grottger’s “Lituania” in 1897. On 22 April 1898 the competition jury, lead by count Edward Raczyński - the Chairman of the Society, chose, out of 10 projects, one project entitled “Z żywymi naprzód” (“Let’s forward with the living”) prepared by a young, unknown architect Franciszek Mączyński. Although the project was difficult to realise, it met the competition requirements: “the edifice should mark with originality and innovate the city’s physiognomy”. The construction of the Society’s edifice began on 26 June 1899 and it was roofed by the end of that year. During summer 1900 the edifice was decorated outdoors and indoors, supplied with furniture etc., with large financial difficulties on the way. However on 11 May 1901 the Chairman could celebrate the official opening of the Society’s new seat in the presence of university rectors, aristocracy and generals. The edifice was sacred by cardinal Puzyna.
   The Palace of Art is an excellent example of architecture, sculpture and ornamentals being integrated. The cooperation of various artists effected in creating a consistent and harmonic piece of art. There are various types of art used within one edifice, these types being joined by homogeneous features of particular elements like: secession, modernism and symbolism.
   The edifice was meant to be a monumental place for the cult of art – the temple of art. A Greek temple is referred to by Ionic elements and a frieze rounding the Palace; its monumental character can be seen in busts placed in niches. Apollo’s head, crowning above the main entrance, surrounded by rays, marks the mysterious power of skill which is to overpower the edifice. The combination of symbolism and secession styles and specific iconographics of particular elements highlight the functions of the palace being a museum and an exhibition place.
   The main façade of the Palace is the narrower side of the rectangular projection, headed South with the entrance portal carved in stone. The top is decorated with three shields – the emblem of artists placed amongst laurels. The entrance façade is crowned with a rayed head and two ornamental vases placed above the columns.
   In the middle projection, seen from Szczepański Square, there is centrally located bust of Jan Matejko, created by Antoni Madeyski. The western façade is just next to a narrow part of Planty (the city’s recreational area along the Vistula River) which in 1903 was transformed into a separate garden with a central monument of Artur Grottger, (designed by Wacław Szymanowski) what naturally adds to the western façade decorated with busts. The frigidity of the whole edifice is disturbed by a highly artistic motif, giving the edifice a truly monumental character, in the form of a frieze designed by Jacek Malczewski, drawn in natural proportions by Czajkowski brothers and carved in stucco by Jan Iwan from Vienna. The work was supervised by Włodzimierz Tetmajer. The frieze presents two processions setting out in opposite directions from the northern wall and meeting on the southern one; the procession of joyful, triumphant artists is placed on the eastern wall, next to Matejko bust; the procession of those whom art burdens and breaks is placed on the western side. The iconographics starts here with infantile play with a small Pegasus; then there are years of adolescent friendship and honourable competition and finally mature people going forwards to the southern façade, carrying pieces of art: sculpted heads, scrolls of drawings and small buildings. On one side they are accompanied by Faith, Love and Hope, the latter being presented symbolically by Malczewski – young Tobias carrying a fish whose bile is to heal his father. On the other side, the artists are accompanied by Despair, Pain and Doubt – fine heroes of human suffering whose master and translator in Jacek Malczewski.
   On the southern facade the leaders of both processions kneel down in front of their Muses. One is being given a laurel writhe and is proud of his way, Pegasus accompanies him with his wings spread; the second Muse seems to comfort the unfortunate artist, giving him a twig similar to a martyr’s palm; defeated, he embraces his head with his arms with humility and hopeless sadness. The fortunate artist listens to loud sounds of trumpets whereas the unfortunate one listens to an ordinary pipe. The Pegasus next to the latter barely stands with his wings dangling as if he were a wounded bird. The Palace façade thus depicts not only winners but also those whom life hurts or who are temporarily run out of artistic power.
   After 25 March 1996 the management of the Society has been revived and comprises great people of science, culture, art and business who took up and realised the noble task to save the Palace and recover its splendour, without any government financial support. The exhibition area has been extended by 60% by opening the Lower Palace of Art, after 3 months of revitalising works. Finally, the Palace can fulfill its prime role –being the centre of promoting excellent Polish art also via innovative art promoting activities.