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The City and the Museum: Cracow's Collections and Their Publics in the Long Nineteenth Century
Published online by Cambridge University Press: 01 May 2018
Extract
It is generally acknowledged that museums were an essential part of the national project in nineteenth- and early-twentieth-century Europe—and some retain this function even today. Classic works in nationalism studies, such as Eric Hobsbawm's, have highlighted the role they played in the birth of modern nations. Subsequent studies that focused on specific national contexts help us better understand the mechanisms by which museums contributed to the invention of national traditions as well as to the formation of historical consciousness, historical memory, and the functioning of modern states. As these and other scholars of museum history also demonstrate, museum founders, directors, curators, and the broader public were driven by agendas and aspirations other than nation-building within these larger processes. Analyzing how these agendas mixed with the aims of the national project in a specific locality in the making of museums can generate new insights into the formation of modern subjectivities in this period.
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- Copyright © Center for Austrian Studies, University of Minnesota 2018
Footnotes
This article is based on the research conducted within the project “Promoting National and Imperial Identities: Museums in Austria-Hungary” at the University of Birmingham, funded by the Leverhulme Trust.
The author would like to express his thanks to Nathaniel D. Wood and the anonymous reviewers of the Austrian History Yearbook for their useful comments on the earlier draft of this article.
References
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39 See “Krótki zarys historii budowy Muzeum techniczno przemysłowego w Krakowie” [A brief outline of the history of the Technical Industrial Museum in Cracow], Archiwum państwowe w Krakowie [State Archives in Cracow] MPA 16, sp. 352; also see Krzaczyńska, Zapomniane muzeum, 16–17.
40 Stolot, Narodziny Muzeum, 8; Guichard-Marneur, “Drafting Futures,” 116; Crowley, David, National Style and Nation-State: Design in Poland from the Vernacular Revival to the International Style (Manchester, 1992), 9–10Google Scholar, 12–15, 48–50, 61–65.
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49 Unowsky, The Pomp and Politics, 61–64.
50 Hapanowicz, “Adrian Baraniecki,” 21.
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52 Kras, Wyższe Kursy dla Kobiet.
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66 Quoted in Stolot, Narodziny Muzeum, 9.
67 Ibid., 10.
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72 Guichard-Marneur, “Drafting Futures,” 120–21.
73 Stefan Muczkowski was the son of Józef Muczkowski, also a professor at the Jagiellonian University, who was involved in the museum of antiquities.
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76 Stolot, Narodziny Muzeum, 15.
77 Sprawozdania Muzeum Nadorowego, 1887–1898 [Reports of the National Museum, 1887–1898] (Cracow, 1888–99).
78 The circle included Marceli Czartoryski, Majer, Muszkowski, Kossak, Siemiradzki, Łepkowski (at that point archaeology professor at the Jagiellonian University), Sokołowski (now professor of art history at the same university). Additionally, the president of the Academy of Learning (Majer) and another representative of the Friends of Fine Arts (Otto Hausner) also participated. See Stolot, Narodziny Muzeum, 15–16.
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80 Stolot, Narodziny Muzeum, 18–21.
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82 Róg, “Adolf Sternschuss.”
83 Dabrowski, Commemmorations, 35–36. On further divisions within Galician peasantry and the privileged status of the so-called Cracovian peasants, see Stauter-Halstead, The Nation in the Village, 9.
84 Guichard-Marneur, “Drafting Futures,” 123–24.
85 Dr. K. S., “Muzeum Narodowe” [National Museum], Ilustracya polska 20, 9 June 1904, 320.
86 “Jubileusz Muzeum Narodowego,” Nowości Illustrowane, 23 Oct. 1909, 15–16.