Cultural Mobility in the Interwar Avant-Garde Art Network

Michal Wenderski, PhD, is an architect, translator and scholar of modern Dutch literature specialising in the history of European interwar avant-garde. He currently works at Adam Mickiewicz University in Poznan, Poland.

• List of figures List of tables Acknowledgements List of abbreviations of consulted institutions and repositoriesIntroductionChapter 1: Polish, Belgian and Dutch avant-garde formations, their mutual contacts and cultural mobility within the international network of groups and periodicals1.1. Interwar avant-garde formations of Dutch, Belgian and Polish provenance1.2. Cultural mobility between Polish and Belgian avant-garde formations1.2.1. Traces of Polish-Belgian cultural mobility in Belgian avant-garde periodicals1.2.2. Traces of Polish-Belgian cultural mobility in Polish avant-garde periodicals1.3. Cultural mobility between Polish and Dutch avant-garde formations1.3.1. Traces of Polish-Dutch cultural mobility in Dutch avant-garde periodicals1.3.2. Traces of Polish-Dutch cultural mobility in Polish avant-garde periodicals1.4. Traces of Polish-Dutch and Polish-Belgian cultural mobility in relevant international avant-garde periodicals1.5. Cross-referencing1.6. Preliminary observationsChapter 2: Avant-garde manifestos and programmatic statements – inspirations, parallels and dissimilarities2.1. Abstraction as the idiom of universal art2.2. L’art pour …?2.3. Cooperation between disciplines and across borders2.4. Preliminary conclusionsChapter 3: "What we do is no imitation, but an effort parallel to…" – selected works of art and architecture as representation of mutual influences and similarities3.1. Avant-garde publications from Poland and the Low Countries in light of international trends in layout and page design3.2. Piet Mondrian, Theo van Doesburg and Henryk Stazewski3.3. Katarzyna Kobro and Georges Vantongerloo3.4. Mieczyslaw Szczuka and Hendrik Nicolaas Werkman3.5. Henryk Berlewi, Vilmos Huszár and Karel Maes3.6. Poland, the Low Countries and foreign artists: the examples of El Lissitzky and Pietro (de) Saga3.7. Interior design3.8. Architecture3.9. Preliminary conclusionsClosing remarksReferencesPrimary sourcesSecondary sourcesAppendix