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  • The Mausoleum of Queen Richeza at the Cathedral of Cologne
    Mausoleum
  • The coats-of-arms of Hedwig Jagiellonica and Georg the Rich of Bavaria-Landshut in the castle at Burghausen.
    The coats-of-arms of Hedwig Jagiellonica and Georg the Rich
  • A stained glass painting in the Landshut town hall. The window is in the main staircase. The picture shows Georg the Rich and Hedwig of Poland.
    A stained glass painting in the Landshut town hall.
  • Philips Galle (1537-1612): Joannes Alasco, 1567.
    Johannes a Lasco, 1567
  • Count Athanasius Raczyński, 1826
    Count Athanasius Raczyński
  • The Raczynski Palace at Königsplatz (ca. 1875)
    The Raczynski Palace
  • Empfang der Polen in Leipzig 1830
    Empfang der Polen in Leipzig 1830
  • Transit routes taken by Polish fighters in the November uprising and the German organisations providing help to Poland 1831 – 1833 (overview). H. Asmus, 1981. Staatsbibliothek zu Berlin – Preußischer Kulturbesitz
    Transit routes (overview)
  • The Most Memorable Days in the Year 1830, a memorial tablet in 12 tableaux, Verlag Johann Andreas Endter, Nürnberg, 1830, engraving, coloured, 30.3 x 43.5 cm
    Memorial tablet in 12 tableaux
  • A special postage stamp issued by the German Postal Service to mark the anniversary of “175 Years Hambach Festival”
    A special postage stamp
  • Ludwik Mierosławski (1814-1878)
    Ludwik Mierosławski
  • Józef Ignacy Kraszewski around the year 1879
    Józef Ignacy Kraszewski
  • Kraszewski-Museum in Dresden
    Kraszewski-Museum
  • „Chopin spielt im Salon des Fürsten Anton Radziwill in Berlin“
    „Chopin spielt im Salon des Fürsten Anton Radziwill in Berlin“
  • Wiarus Polski vom 3. Juli 1907
    Wiarus Polski, Bochum
  • Sachsengänger bei der Ankunft in Berlin, 1909
    Sachsengänger
  • Cover page of the first edition of “Narodowiec”
    Cover page of the first edition of “Narodowiec”
  • Carl Teufel: Künstleratelier Alfred Wierusz-Kowalski, München 1889
    Atelier von Alfred Wierusz-Kowalski in München, 1889
  • Kaiser Wilhelm II and Adolf v. Menzel in the workshop of the painter Adalbert von Kossak.
    In the workshop of Kossak
  • Rosa Luxemburg speaking at the International Socialist Congress in Stuttgart, August 1907.
    International Socialist Congress
  • Helena und Stanisław Sierakowski, Hochzeitsfoto, 1910
    Helena und Stanisław Sierakowski, Hochzeitsfoto, 1910
  • Wedding telegram with two men in national costume and the cartouche with a white eagle, colour print, 1913.
    Wedding telegram, 1913
  • Roman Witold Ingarden, study record Albert-Ludwigs-University of Freiburg with signature Edmund Husserls, 1916
    Study record Albert-Ludwigs-University of Freiburg
  • "Pola Negri - unsterblich", Dokumentation von 2017

    Eine Filmdokumentation über Leben und Schaffen eines der größten Stummfilmstars in Deutschland polnischer Herkunft.
  • Drei Tage im November. Józef Piłsudski und die polnische Unabhängigkeit 1918"

    Von Magdeburg in die Unabhängigkeit Polens - ein Film über einen polnischen Mythos.
  • The house in the Magdeburg Fortress where Józef Piłsudski was interned.
    The House in the Magdeburg Fortress
  • “Radziwill Palais”, view of the “Red Salon” and the winter garden of the building, ca. 1927.
    “Radziwill-Palais”
  • The religious ceremony of "Days of Faith of Our Fathers" in Herne, 1930
    The religious ceremony in Herne, 1930
  • Werbeplakat für den Film Ich liebe alle Frauen (1935) mit Jan Kiepura
    Werbeplakat für den Film "Ich liebe alle Frauen" (1935) mit Jan Kiepura
  • Dziennik Berliński
    Dziennik Berliński
  • The Jankowski Family – Ruhr Poles in Herne 1936
    The Jankowski Family – Ruhr Poles in Herne 1936
  • Polnischer Zwangsarbeiter beim Milchfahren, ca. 1943
    Polnischer Zwangsarbeiter beim Milchfahren, ca. 1943
  • Polish fashion magazine “Moda” in Niederlangen (Emsland), 1945
    Polish fashion magazine “Moda” in Niederlangen (Emsland), 1945
  • Soldat der polnischen 1. Panzerdivision
    Wilhelmshaven, 1945
  • Józef Szajna in Maczków (Haren) on the Ems, 1946.
    Józef Szajna in Maczków
  • Friedhofskapelle im DP-Lager Flossenbürg, 1947
    Friedhofskapelle im DP-Lager Flossenbürg, 1947
  • The film producer Artur "Atze" Brauner.
    The film producer Artur "Atze" Brauner.
  • Artur Brauner - Ein Jahrhundertleben zwischen Polen und Deutschland

    Eine Filmdokumentation über die legendäre Persönlichkeit des deutschen und internationalen Films.
  • Tadeusz Nowakowski, ca. 1950
    Tadeusz Nowakowski, ca. 1950
  • Teresa Nowakowski (101) im Gespräch mit Sohn Krzysztof, London 2019 (auf Polnisch).

    Teresa Nowakowski (101) im Gespräch mit Sohn Krzysztof, London 2019.

    Teresa Nowakowski (101) im Gespräch mit Sohn Krzysztof, London 2019 (auf Polnisch).
  • Fronleichnam in der Siedlung für polnische Displaced Persons in Dortmund Eving, 1951
    Fronleichnam in der Siedlung für polnische Displaced Persons in Dortmund Eving, 1951
  • Stefan Arczyński (right) with a friend in Moscow. Photographer unknown, 1956.
    Stefan Arczyński (right) with a friend in Moscow, 1956
  • Mieczysław Wejman, „Der Schlaf ist Bruder des Todes“, Wildflecken, 1971
    Mieczysław Wejman, „Der Schlaf ist Bruder des Todes“, Wildflecken, 1971
  • Marcel Reich-Ranicki in the ZDF studio Programme title: Aus gegebenem Anlass - Marcel Reich-Ranicki talks to Thomas Gottschalk
    Marcel Reich-Ranicki in the ZDF studio
  • Karol Broniatowski

    Memorial to the Jews deported from Berlin, 1991
  • Historische Vereinsfahnen des Bundes der Polen in Deutschland in der St. Anna Kirche der Polnischen Katholischen Mission in Dortmund. Die Fahnen gehören zum Bestand der Porta Polonica.
    Historische Vereinsfahnen des Bundes der Polen in Deutschland
  • Film "The Madman and the Nun" - St. Ignacy Witkiewicz, Filmstudio Transform, Director: Janina Szarek

    Film "The Madman and the Nun" - St. Ignacy Witkiewicz, Filmstudio Transform, Director: Janina Szarek
  • WORMHOLE, 2008

    A video installation in a public space. Steel construction, glass, video, monitor, DVD player. Ø = 100 cm, H = 110 cm. Copyright: Karina Smigla-Bobinski.
  • Andrzej Wirth in his apartment in Berlin

    Andrzej Wirth in his apartment in Berlin.
  • Interview with Leszek Zadlo

    Interview with Leszek Zadlo

    Interview with Leszek Zadlo
  • Köln, Hohenzollernbrücke
    Köln, Hohenzollernbrücke
  • ZEITFLUG - Hamburg

    © all films: Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art, Hamburg.
  • Lech Wieleba

    On the double bass.
  • Empty Images, 2000/2006. Bild (Berlin), 12th January 2006
    ill. 17b: Empty Images, 2000/2006
  • Monika Czosnowska, Johanna
    Monika Czosnowska, Johanna
  • Polonia Dortmund 2012
    Polonia Dortmund 2012
  • In Blau, Małgosia Jankowska, 2015, Aquarell, Filzstift auf Papier, 100 x 150 cm.
    Małgosia Jankowska
  • Katarzyna Myćka
    Katarzyna Myćka
  • Der Planet von Susanna Fels

    Ein Kunstfilm von Susanna Fels mit den Fotos von u.a. Annette Hudemann, 2019.
  • Agata Madejska, RISE, 2018. Installation view, ∼ =, Impuls Bauhaus, Zeche Zollverein, Essen, 2019.
    Agata Madejska, RISE, 2018

Poles in Germany: Roads to visibility

Magdalena Abakanowicz, Bambini, 1998
Magdalena Abakanowicz, Bambini, 1998. Ausstellungsansicht in der St. Elisabeth-Kirche, Berlin, Gallery Weekend 2015, Galerie ŻAK | BRANICKA, Berlin

Looking for work

 

The German Empire founded in 1871 offered its citizens equality of legal status, legal protection and free mobility within the borders of the Empire. Prussian Poland also made use of this: The influx of Polish-speaking citizens of the Empire into the industrial regions and mines of the Ruhrgebiet in the decades before the First World War – around 500,000 people – was, to that point, the largest compact migration of a non-German population in German history; it paved the way, so to speak, for all the economic migration that would later follow. But they were also migrating in a time in which, in the eyes of the nationalist parties and of some of the public, Poles, who were becoming the greatest enemies of the Empire, appeared to endanger the unity of the young country through their own national ambitions.

This mixture of cultural closeness and latent discrimination often resulted in Poles shying away from putting their Polish identity on show in predominantly German-speaking regions. Better not to speak Polish on the street, better not be conspicuous, better to quickly integrate into German society. The majority of children born to internal migrants learnt hardly any Polish. At the same time, these migrants were shaped not only by the Ruhr area society (in 1910 for example they represented a quarter of the population in Recklinghausen), but also by other emerging industrial centres, such as the large North German cities or Berlin. However, this group was in no way homogeneous: As well as the Catholic migrants, there was also a large migration of Protestant Masurians, particularly in Westphalia and, as well as the people from Poznań who spoke High Polish, Upper Silesians and Kashubians, with their characteristic dialects and languages, also moved there. The “Ruhr Poles” (westfalczycy), in particular, developed a rich life centred around clubs and associations, and Polish church structures, trade unions and political representation all sprang up.

In addition to the internal Polish migrants, Poles from abroad, from Austrian Galicia or from the regions annexed by Russia also arrived. At times, there were several hundred thousand of them working primarily as seasonal workers in farming, the so-called “Sachsengänger”.

Whilst this was almost exclusively a proletarian economic migration, representatives of the Polish elite also moved to Germany: As the capital, Berlin attracted representatives of the nobility (such as the Radziwiłł and Raczyński families), but Poles also had seats in the Reichstag and in the Prussian state parliament. At times, writers such as Adam Mickiewicz and Józef Ignacy Kraszewski chose to live in Dresden and students moved to the various universities of the Empire; some also had an academic career here. Not least, politicians in the Empire found a place to stay; the socialists Rosa Luxemburg and Julian Marchlewski were just two of many.

The “Munich School” was particularly well known in Poland. This term conceals the fact that between 1828 and the outbreak of the First World War more than three hundred Polish painters and sculptors were studying at the Academy of Fine Arts in Munich and in its surrounds. Even if this was not a “school” in the true sense of the word, various contacts and references developed among the many prominent painters, such as Józef Brandt, Jan Matejko, Aleksander Gierymski, Maksymilian Gierymski, Alfred Wierusz-Kowalski and Wojciech Kossak. In his role as court painter, Kossak is said to have later played an important role in the capital’s art scene. Female artists, such as Olga Boznańska, were also able to improve their skills in Munich, even if there were few females there as women were not allowed to study at the Munich Academy before 1920.