Young Poland

Young Poland (Polish: Młoda Polska) is a modernist period in Polish art history, literature, and music that lasted from 1891 to 1918. It stemmed from a strong rejection towards the ideals of Positivism and Naturalism, instead promoting elements of decadence, neo-romanticism, symbolism, Impressionism, and Art Nouveau. Its name is analogous to other European art movements of the time such as "Young Germany," "Young Belgium," and "Young Scandinavia."

The Young Poland movement emerged in the 1890s in response to the country's non-existence for almost a century, and embraced an unprecedented flourishing of applied arts and the revival of crafts, drawing inspiration from nature, history, peasant traditions and craftsmanship to convey patriotic values. This movement is also seen as a diverse group of early 20th-century Neoromantic writers brought together in reaction against Naturalism and Positivism. Inspired by Polish Romantic writers and also by contemporary western European trends such as Symbolism, they sought to revive the unfettered expression of feeling and imagination in Polish literature and to extend this reawakening to all the Polish arts.

The movement developed to its greatest extent in Kraków, pioneered by the poet Antoni Lange and by the editor and critic Zenon Przesmycki (“Miriam”), an early Polish modernist. The most prominent figure of the Young Poland movement was the painter and dramatist Stanisław Wyspiański, whose play Wesele (1901; The Wedding, filmed 1973), a masterpiece of evocative allusion, is written in the stylized verse of the traditional puppet theatre. Other Young Poland movement writers included the peasant poet Jan Kasprowicz, who established a tonic poetic metre that became the characteristic rhythm of modern Polish poetry, and the novelists Stefan Żeromski, Władysław Stanisław Reymont, and Karol Irzykowski.^[1]

History[]

The term "Young Poland" was coined in an 1898 manifesto by Artur Górski, published in the Kraków newspaper Życie (Life), and quickly spread throughout partitioned Poland, echoing similar movements like Young Germany and Young Scandinavia. The Young Poland era lasted from 1891 to 1918, beginning with the publication of Kazimierz Przerwa-Tetmajer's first poetry collection, Poezje, and ending with the conclusion of World War I, the same year when Poland regained its independence.

This period was marked by a generational shift, with the "young" seeking to revitalize Poland and continue Romantic ideals by rejecting Positivist principles which were established after the January Uprising. Consequently, "Neo-Romanticism" is another designation for Young Poland, which concluded with Poland's regaining of independence after World War I. The term "Modernism" is also used, reflecting a departure from previous generational views and the influence of industrial growth.^[2]

In culture, the era contrasted with earlier Positivist works. Poetry by Kazimierz Przerwa-Tetmajer, Jan Kasprowicz, and Leopold Staff, as well as dramas by Stanisław Wyspiański and Gabriela Zapolska, and novels by Władysław Reymont and Stefan Żeromski, gained prominence. In painting, Impressionist artists such as Aleksander Gierymski, Władysław Podkowiński, Julian Fałat, and Leon Wyczółkowski were active, alongside Symbolist Jacek Malczewski. In music, Mieczysław Karłowicz, Ludomir Różycki, and Karol Szymanowski developed distinct styles.

The movement embodied a generational rebellion against Positivist rationalism, influenced by Friedrich Nietzsche's emphasis on individual will and Arthur Schopenhauer's pessimistic philosophy. This rejection of Positivist rationalism shows how the era, really, was a neo-romantic time period. There was a desire to transcend conventional norms and seek deeper meaning. The most important part of the Young Poland movement, is how the generational rebellion against positivism, met with the search for a new form of Polish national identity after years of partition. The book, Young Poland: The Polish Arts and Crafts Movement, 1890-1918, argues that Young Poland shared fundamental parallels with the British Arts and Crafts Movement, and that it was specifically this Arts and Crafts ethos that fuelled the movement's patriotic ideology and the nation's quest to regain Polish independence.^[3]

Visual Arts[]

The Young Poland period in Polish art was diverse, with painters and sculptors using various styles and trends. While Art Nouveau was a significant influence, there was also a conscious effort to develop a national style in search of a renewed cultural identity, exemplified by the Zakopane Style pioneered by Stanisław Witkiewicz. Symbolism also played a crucial role in both painting and sculpture.

Stanisław Wyspiański, a multifaceted artist, created stylized drawings, stained glass works, and murals, showcasing influences from the Vienna Secession and Japanese art. Józef Mehoffer was renowned for his stained glass designs, notably for the Fribourg Cathedral and collaborations with Wyspiański.

Symbolism found notable expression in the works of Władysław Podkowiński and Jacek Malczewski. Malczewski, in particular, explored national themes and the relationship between art and artist.

French Impressionism also had a considerable impact, with artists depicting rural life and landscapes. Prominent figures included Teodor Axentowicz, Olga Boznańska, and Józef Pankiewicz.

Post-Impressionism and Expressionism were represented by artists like Władysław Ślewiński, Leon Wyczółkowski, Ferdynand Ruszczyc, Wojciech Weiss, Witold Wojtkiewicz, and Konrad Krzyżanowski.

Other notable painters of the period included Stanisław Mas-owski, Fryderyk Pautsch, Kazimierz Sichulski, and Stanisław Dębicki.

In Young Poland painting, no single art trend dominated. Art Nouveau's influence was evident in the use of flowing lines and muted colors. There was also a fascination with Oriental art, which was seen as a source of fresh inspiration. The period also saw the development of poster art and graphic design, with artists like Edward Okun contributing to these forms.

Philosophy[]

The Young Poland movement emerged as a reaction to perceived negative ideological, philosophical, political, and artistic conditions prevailing in the European arts at the end of the 19th century. This movement, encompassing writers born in the 1860s and 1870s, reflected a widespread sense of crisis concerning established values and philosophical systems.

Naturalistic and materialistic philosophies were being replaced by idealistic, fantastical, and irrational ideas. Contemporary artists believed Western civilization had exhausted its offerings to humanity, and that the world was heading towards inevitable catastrophe. Economic and political instability, coupled with the decline of monarchies and the rise of socialist ideas, contributed to a pervasive atmosphere of threat and helplessness. Young Poland artists, unlike the preceding Positivist generation, distrusted the established world order.

Philosophical inspiration was drawn from Schopenhauer, Nietzsche, and Bergson, who advocated for a "revaluation of values." Influences of immoralism and unconventional aesthetics were also present. Artistic and philosophical shifts occurred between 1900 and 1905, with a move away from modernist rebellion and pessimism towards a program of active and optimistic poetry, as exemplified by Leopold Staff. A shift in favour of saint Francis of Assisi also became popular.

The principal literary and artistic centers of Young Poland were Kraków and Lwów, with Zakopane also gaining importance, particularly for its "Tatra poetry." Warsaw, due to the post-January Uprising situation, lacked cultural prominence, though it produced notable prose writers such as Stefan Żeromski and Władysław Reymont.

Young Poland fostered literary, poetic, journalistic, and artistic activity. The journal Chimera played a key role in the rediscovery of Cyprian Norwid's poetry. The extensive travels of Young Poland artists to European cultural centers, like Vienna, Paris, and Munich, led to a synchronization of Polish literature with international trends. There was also a notable increase in interest in Oriental literature and art, evident in translations of ancient Indian epics such as the Mahabharata. Witold Gombrowicz was among those who drew inspiration from Young Poland artists.^[4]

Literature[]

The Young Poland literary period, occurring between 1891 and 1918, witnessed the emergence of new artistic and intellectual trends including Neo-Romanticism, Decadentism, Catastrophism, Symbolism, Expressionism, Impressionism, and Franciscanism. Writers of this era rejected the rational philosophy of Positivism, instead drawing from Romantic traditions which emphasized emotion over reason and affirmed the artist's unique societal role.

The early years of Young Poland were marked by growing Decadent and pessimistic sentiments, primarily expressed in poetry. 1891 is considered the approximate start of the young Poland literature, marked by debuts of Kazimierz Przerwa-Tetmajer, Franciszek Nowicki, and Andrzej Niemojewski, though work representing the prior positivism era, was still being produced.

Literary criticism developed significantly during this time, with figures like Zenon Przesmycki and Wilhelm Feldman becoming prominent. Kazimierz Przerwa-Tetmajer stood out as a leading poet, capturing the prevailing moods and philosophical concepts of the age. Jan Kasprowicz was another influential poet, known for naturalistic, symbolic, and expressionistic works. Other poets included Leopold Staff, Bolesław Leśmian, and Tadeusz Miciński.

The era saw the rise of female poets, such as Maria Komornicka, Maryla Wolska, and Zofia Nałkowska. Satirical poetry, represented by Tadeusz Boy-Żeleński, also flourished. Towards the end of the period, patriotic and legionary poetry emerged, exemplified by works of Jerzy Żuławski and Edward Słoński.

In drama, Stanisław Wyspiański was a central figure, creating works addressing national, historical, and mythological themes. Gabriela Zapolska and Włodzimierz Perzyński contributed to modernist drama, exploring themes of social hypocrisy. In prose, Stefan Żeromski and Władysław Reymont were dominant. Żeromski's works explored historical and contemporary themes, while Reymont focused on social and cultural observations, and was awarded a nobel prize. Other prominent prose writers included Władysław Orkan, Wacław Berent, and Karol Irzykowski.

Jerzy Żuławski authored science fiction. Literary criticism evolved with figures like Artur Górski, Stanisław Przybyszewski, and Ignacy Matuszewski shaping the discourse. Critics like Wilhelm Feldman occupied an ambiguous position, acknowledging new trends while emphasizing art's social responsibilities. After 1905, a shift occurred as critics, including Stanisław Brzozowski, began to advocate for art with moral and social purpose. World War I marked the end of the Young Poland era.^[5]

Music[]

In 1905, Ludomir Różycki, Apolinary Szeluto, Karol Szymanowski, and Grzegorz Fitelberg established the Young Poland Publishing Company of Young Polish Composers, with financial support from Prince Władysław Lubomirski. The company's headquarters were located in Berlin, and their collective activities continued roughly until the outbreak of World War I. The composers associated with Young Poland aimed to create primarily original, rather than accessible, music. They expressed a need to align the Polish musical environment with the European atmosphere, asserting that great art could achieve national significance without relying on conventionalized folklorism. This goal was realized primarily by Karol Szymanowski. Mieczysław Karłowicz, although not formally a member of Young Poland, composed in a style considered characteristic of the movement. Stylistically, Young Poland music was closely related to European musical Neo-Romanticism, notably the works of Richard Strauss.

Notable Figures[]

Visual Arts[]

Ferdynand Ruszczyc
Fryderyk Pautsch
Jan Bukowski
Jan Stanisławski
Jan Talaga
Jacek Malczewski
Józef Mehoffer
Józef Pankiewicz
Julian Fałat
Karol Frycz
Konrad Krzyżanowski
Leon Wyczółkowski
Ludwik Konarzewski
Maurycy Lilien
Olga Boznańska
Stanisław Dębicki
Stanisław Masłowski
Stanisław Wyspiański
Teodor Axentowicz
Teofil Terlecki
Wacław Szymanowski
Władysław Jarocki
Władysław Podkowiński
Władysław Ślewiński
Włodzimierz Przerwa-Tetmajer
Wojciech Gerson
Wojciech Kossak
Wojciech Weiss
Witold Wojtkiewicz

Literary Artists[]

Andrzej Niemojewski
Antoni Lange
Artur Oppman
Bogusław Adamowicz
Bolesław Leśmian
Bronisława Ostrowska
Edward Słoński
Franciszek Mirandola
Franciszek Nowicki
Gabriela Zapolska
Ignacy Maciejowski
Jan August Kisielewski
Jan Kasprowicz
Jan Lemański
Jerzy Żuławski
Józef Mączka
Józef Weyssenhoff
Kazimierz Przerwa-Tetmajer
Leopold Staff
Lucjan Rydel
Ludwik Maria Staff
Ludwik Szczepański
Maryla Wolska
Stanisław Antoni Mueller
Stanisław Brzozowski
Stanisław Korab-Brzozowski
Stanisław Przybyszewski
Stanisław Wyrzykowski
Stanisław Wyspiański
Stefan Żeromski
Tadeusz Boy-Żeleński
Tadeusz Miciński
Tadeusz Rittner
Wacław Berent
Wacław Rolicz-Lieder
Wacław Sieroszewski
Wincenty Korab-Brzozowski
Władysław Orkan
Władysław Reymont
Włodzimierz Perzyński
Zdzisław Dębicki
Zenon Przesmycki
Zofia Trzeszczkowska
Zygmunt Kawecki

Composers[]

Apolinary Szeluto
Grzegorz Fitelberg
Karol Szymanowski
Mieczysław Karłowicz
Ludomir Różycki

Sculptors[]

Jan Raszka
Wacław Szymanowski

Resources[]

Young Poland: The Polish Arts and Crafts Movement, 1890-1918 (2020): This book, the first in any language to explore the Young Poland period in the context of the international Arts and Crafts movements, is the culmination of an international research project co-financed by the Polish Ministry of Culture and National Heritage as part of the 'Inspiring Culture' Programme. It is a collaboration between Lund Humphries, the William Morris Gallery, the National Museum in Kraków and the Polish Cultural Institute, London. The lavishly illustrated publication charts the rich history of the artists, designers and craftspeople whose schemes came to define Young Poland, including over 250 illustrations of ceramics, furniture, textiles, paper cuttings, wood carvings, tableware, stained glass, book arts, children's toys and Christmas decorations, as well as domestic, church and civic interior decoration schemes.

Gallery[]

References[]

↑ "Young Poland movement" on britannica.com
↑ "Młoda Polska - kultura i niepodległość" on jedynka.polskieradio.pl (in Polish)
↑ "Young Poland: The Polish Arts and Crafts Movement, 1890-1918" by Andrzej Szczerski, Julia Griffin, and Julia Dudkiewicz (2020)
↑ "Młoda Polska" on pl.wikipedia.org (in Polish)
↑ "Literatura polska – Młoda Polska" on pl.wikipedia.org (in Polish)