The Pet ‘Kittens’ The Pet ‘Kittens’
Experiences

The Pet ‘Kittens’

A History of “Przekrój”’s Cover Girls
Ewa Pawlik
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The cover presented below has nothing to do with the “Przekrój” kittens described in this article. It’s only a representative of the feline type, among almost 500 kittens who graced the covers of the magazine throughout its history. All of them were photographed by Wojciech Plewiński, who shot several hundred cover photos, the only full-time photographer between 1956 and 1990. But the idea for the series came from the editor-in-chief, Marian Eile.

Okładka „Przekroju” nr 203/1949
A “Przekrój” cover from 1949

Plewiński made it onto the staff thanks to the intercession of Barbara Hoff, who ran the fashion section, along with Janka Ipohorska. This happened during the same period when Piotr Skrzynecki set up his Piwnica pod Baranami [Cellar Under the Rams] cabaret in Kraków, where Tadeusz Kantor opened the Cricot 2 theatre; the Stodoła student club opened in Warsaw; and in Białystok the first self-service shop in the country welcomed its first customers. The first three-phase atomic bomb was detonated over Bikini Atoll, Marilyn Monroe married Arthur Miller and Grace Kelly tied the knot with Prince Rainier III, and a 16-year-old Pelé stepped onto the pitch.

In addition to Plewiński, Brigitte Bardot was also starting her career. And God Created Woman appeared on the screen, making her a symbol of sex and sensuality.

But Poland’s reality at that time was quite innocent, not to say provincial. There were no advertising or modelling agencies. The role of model was sometimes played by woman tractor drivers or work leaders. So Eile’s idea of putting young beauties on the cover was an innovation. It was the editor-in-chief who set the criteria for selecting candidates. Blondes were the most sought-after; in print, dark colours just turned into a black blob, which ruled out brunettes. So beauties of the Marilyn Monroe type were preferred, with small, turned-up noses (because big noses photograph poorly). Blue eyes were the best, because they were light.

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The second criterion was age. The ideal candidate was 23-years-old at most. It was best if she was still in school or college. From an artistic school; maybe an architecture department. Future actresses were comely as a rule, and painters, sculptors and architects really knew how to dress. That was important, because all aspects of the sessions – from the location, through the lighting, to the styling, hair and make-up – were the responsibility of the photographer. A kitten had to appear on the pages of the magazine every week, and the sessions took up a lot of time and energy.

Candidates were suggested to Plewiński by friends, relatives, contributors to the magazine; everyone, really. Sometimes the mothers of potential kittens. They were discovered in school canteens, in bars and cafés, in parks – practically everywhere. Plewiński then had to convince them, sometimes winning the approval of their guardians or fiancés. And, of course, he needed Eile and Ipohorska to accept them too. With time he became so fluent in the art of make-up that the same girl appeared on several different covers, and nobody at the magazine noticed.

Many of the women who caught Plewiński’s eye gained great fame over time. This category certainly includes Anna Dymna and Beata Tyszkiewicz. He photographed both of them when they were still in secondary school. Already then he perceived something in them: potential, personality. Ugly girls never made it onto the covers, but a pretty face wasn’t any guarantee of a slot.

Over the years, the “Przekrój” kittens have been written about quite often. The subject appeared in every interview with Plewiński. On the one hand, the kittens brought him fame; on the other, they became a curse. They were the main association with his name, even though he also, or maybe even primarily, did theatre photography and reportage.

“Przekrój” itself even wrote about the kittens. In the section “Thoughts of great people, middling people and Fafik the dog”, maxims can be found from the Rojek Brothers, meaning Eile himself: “A kitten is good for a trip to Młociny, but not into interstellar space.” Or: “Good kittens are like intercity phone exchanges – always busy (taken).” His words were echoed by Fafik the dog: “Kittens? I’m a hound-dog for them!” Even Janka Ipohorska, aka Jan Kamyczek, wrote in a similar tone. Under the pseudonym Krecia Pataczkówna she joked: “Morality is strong in me, but a kitten is stronger.”

A “Przekrój” kitten was supposed to be pretty, of course, but not particularly clever. That’s it – an aesthetic accoutrement to the magazine; a pretty face smiling from “Przekrój”’s window on the world. They were girls to look at, not to listen to, and not to converse with. Actually it’s good that the term ‘kitten’ was adopted. At that time, attractive women were still called ‘chicks’ or ‘dolls’.

Between 1945 and 2000 the word ‘feminism’ appeared on the pages of the magazine five times, and ‘liberation’ seven, of which two were references to the emancipation of black slaves in the US, and once about Bolesław Prus’s The New Woman.

Feminism itself was described only once, four years after the war, in a propaganda text about the superiority of communism over capitalism. After that, the concept appeared in reprints of Simone de Beauvoir essays. There was also writing about crazy, dangerous American feminists. And that’s it!

For us, the creators of “Przekrój” today, the kittens are a symbol of a bygone era. We look at them with sentiment, but this isn’t a theme we’d like to continue while creating a magazine for the second decade of the 21st century. Like Eile and Ipohorska, we want to show you the news; share new things with the world.

Long live the kittens! And women are people too.

Translated from the Polish by Nathaniel Espino

Click here to see more covers from “Przekrój”’s archives.

Also read:

Picasso, Communism, and a Sheepskin Coat Picasso, Communism, and a Sheepskin Coat
Experiences

Picasso, Communism, and a Sheepskin Coat

On the Friendship of Kindred Artists
Ewa Pawlik

This featured cover from 1974 is a fine example of the Iron Curtain’s practical applications. From the mid-1940s, the magazine’s editor-in-chief, Marian Eile (often accompanied by his deputy, Janka Ipohorska), would travel to Paris to spend a modest hard-currency allowance on literary journals and fashion magazines. “Przekrój” would later ‘borrow’ illustrations, topics and even entire articles from them, with no regard for copyright. Parts of photographs and drawings would occasionally end up on the covers, and the magazine’s designers would ink in extra details, signing them ‘By The Editorial Staff’. Nowadays, it would have ended in court.

Not only is this work older than Guernica, it is also much larger. It was commissioned by Diaghilev’s Ballets Russes as the curtain for the play Le Train Bleu, staged in Paris in 1924. The painting had not been on public display for almost 80 years, and in 2010 when London’s Victoria and Albert Museum finally decided to exhibit it, it took 15 workers to hang the canvas.

Picasso and “Przekrój” had much in common, apart from the fact that they both began with ‘P’. “Przekrój” was a fan of Picasso, thanks indirectly to the pre-war Wiadomości Literackie, where the young Eile worked and first encountered the artist’s paintings. Wiadomości’s editor-in-chief, Mieczysław Grydzewski, had been interested in his work since the 1920s. When Eile became the editor of “Przekrój”, he kept up that interest. Picasso was first published in the weekly in February 1946 and was then featured regularly. “Przekrój” even named 1959 its Year of Picasso, reprinting one of his works every week.

Although readers had already had a chance to acquaint themselves with Picasso previously, the first publications of his works triggered a public outcry. Angry letters poured into the magazine’s offices, but Eile ignored them completely. The magazine was supposed to be a window on the world, and the world adored Picassoon both sides of the Iron Curtainalbeit for very different reasons. To quote one of the painter’s lovers, Françoise Gilot (or one of Picasso’s wives Jacqueline Roque): in Russia they hated his work but liked his politics, whereas in America it was the reverse.

Picasso joined the French Communist Party in 1944 and remained a member for life. He also made donations to the party and its related institutions, and designed propaganda posters and tracts, the most famous of which was the dove of peace symbol. His sketch caught the eye of party colleague Louis Aragon when he was visiting Picasso’s studio. Picasso later questioned why his drawing of the bird had been chosen as the emblem for the World Peace Council set up by the Communists: “As for the gentle dove, what a myth that is! They’re very cruel. I had some here and they pecked a poor little pigeon to death. […] They pecked its eyes out, then pulled it to pieces. […] How’s that for a symbol of Peace?”

There is still a debate today as to whether the artist truly was politically conscious and committed, or merely figured in the party ranks as a ‘useful idiot’ whose fractiousness was tolerated because of his generous donations to the party coffers, and his fame (in which the French Communist Party also basked).

One way or another, Picasso visited Poland in 1948. He only accepted the invitation after the Polish government guaranteed him a private plane and promised that the visit would last for no longer than three days. The artist was among 400 delegates from 46 countries who had been invited to Wrocław for the World Congress of Intellectuals in Defence of Peace. The propagandistic aim of the congress was to convince public opinion worldwide that the Communist Bloc was advocating peace, while the West was threatening it. A conflict arose at the congress when a Soviet delegate, Aleksander Fadeyev, labelled creators of ‘decadent’ Western art and literature as hyenas and jackals. Some of the Western delegation left the hall in protest. Picasso did not react, but later claimed that, behind closed doors, he had given Fadeyev a real ear-bashing and even branded him a Nazi.

The promised three days eventually stretched into two weeks, during which Picasso was taken all around Poland to show off the new leadership’s achievements. A “Przekrój” correspondent, Leopold Tyrmand, even managed to discuss all the burning issues of the time with the artist. This he described as follows:

“Picasso was perpetually surrounded by a crowd of people, indefatigable, forever signing autographs, always smiling and polite. The small, dark eyes of this short man with his tanned complexion were constantly smiling. Finally, this breathless “Przekrój” reporter squeezed through the crowd of admirers and blurted out:

‘Monsieur Picasso, what do you think about peace, war, the Recovered Territories Exhibition, Polish food, the nationalization of industry, Wrocław under Poland, Polish energy, functional architecture, the Oder–Neisse line, the refugee problem, Polish hospitality, German revisionism, Wall Street machinations, your own influence on contemporary painting, imperialism, Cubism, Jerzy Andrzejewski, the reconstruction of Szczecin, and the last Olympics?’

Picasso looked over at “Przekrój” and smiled. Nodding his head, he replied:

Oui…’

And that said it all.”

The renowned Spaniard first met Marian Eile while visiting “Przekrój”’s offices during his forced tour. The two men liked one another, as they had a lot in common. Eile was also a painter; they shared an almost compulsive interest in women and both flirted with communism, although Eile was never a party member. The artists remained in touch for some time and then, in 1954 or 1955, Picasso showed up unannounced in Eile’s office. Apparently, it was the only time in the editor’s long and fascinating life that he had jumped out of his skin in surprise.

The visit was all because of the writer Sławomir Mrożek, ‘the girl with the ponytail’, and a sheepskin coat. Picasso’s last muse, Lydia Corbett (Sylvette David), had seen a photograph in a foreign newspaper of Mrożek wearing a sheepskin coat, and fell for it immediately. Enchanted by the girl, the artist came to Poland and headed straight for “Przekrój”’s headquarters. It was quickly established that the coat had been purchased in Nowy Targ, so the magazine’s secretary, Merka Ziemiańska, set off in a car to accompany the visitor on his quest. It ended successfully: the artist bought the sheepskin coat (or even two), which only served to strengthen the mutual admiration between Picasso and “Przekrój”.

The featured cover is a distant echo of that friendship.

Click here to see more covers from “Przekrój”’s archives.

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