To say that Cepelia was created by some passionate people is an understatement. The art historian Zofia Szydłowska, in particular, was fundamental. Exceptionally beautiful, she was a natural-born organiser and self-confident. One of the few women of the era to hold a director’s position, and the only woman with steady authority in the economic sector. Her main goal was to fight against poverty in rural areas, which she did through setting up organisations, and buying and selling folk handicrafts. 'My dream was to create a distinct style,' she used to say.
But Szydłowska's mission was put on unexpected hold when she was arrested in September 1952 at the height of the Stalinist era. Apparently, she had been doing the state some damage, but two years later was cleared of all charges. She returned to Cepelia, but as a deputy, not president. Upon her return, she said she wanted to concentrate on work that was based on merit.
As early as 1949, Szydłowska had already hired a folk art specialist to work for Cepelia: Janina Orynżyna. This proved to be an excellent choice.
'Once again, I have to act all alone, just like before the war,' Orynżyna thought to herself when Szydłowska gave her the task of putting together an organisation – the Folk Art Section. But she agreed. Orynżyna’s love for painting could be traced back to her family home in Vilnius. She also had literary talent, and was fascinated with handicrafts. Much like the ethnologist Eugeniusz Frankowski, Orynżyna created for herself a 'register of the living', a list of possible future collaborators. In her diary, she noted: 'In order to find oneself on this list, one had to have a passion for the arts, a sophisticated taste, an urge to achieve results, a sportive approach, and no fear of conquering new territories. And, first and foremost – some character'. Official university diplomas were of much lesser value.
