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measure in the eye of every man, allowing him to grasp relations and proportions". Over the next decade, Stażewski also continued to revitalize some of the visual forms present in his early tactile reliefs by moving back them onto a flat painterly surface. While his later compositions had become more intuitive, standing in contrast to the more scientifically determined compositional methods, the artist remained committed to examining the pictorial properties of color. Scholar Janina
Ladnowska described Stażewski's planes of color as "flat, strong, homogeneous, clean, sometimes shining" and suggested that these polychromatic compositions made late in the artist's career cast doubt on the "rational" structures of his earlier work.
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1151:, contributing to what Stażewski called "relative movement," or an intention to increase the physical depth of the relief space to create a more immersive environment for the viewer. Well received by contemporary critics, the Kordegarda show helped to re-position Stażewski as a leading figure in the Polish contemporary art scene. According to art historian Marek Bartelik, Stażewski's commitment to abstraction in the post-war era speaks "to the persistence of the utopian belief in the transcendent power of abstraction: as a form of absolute universal expression". His inspirations during that time were manifold and art historian
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1339:, which he co-founded in 1966, a non-commercial art space in Warsaw that would play a key role in the development of Polish post-war avant-garde. Unlike traditional exhibition venues, Foksal revolved around robust collaboration between participating artists and was supposed to present displays that "problematized the artistic process itself" while keeping an "apparent distance from governmental endeavors to instrumentalize art", even though the gallery was publicly funded.
1516:, referring to Stażewski's early constructivist work in his review of "Constructivism in Poland 1923‐1936" at the Museum of Modern Art in New York, wrote: "In the vein of geometrical painting that seeks to maximize the optical effects of shifting grids and alternating textures, Henryk Stażewski's extraordinary composition of 1930‐31 in black, white and grays likewise sums up an ambition that has rarely been improved upon". A 1990 exhibition of his abstract works at
1077:, the artist deployed non-representational forms to construct three-dimensional reliefs on a horizontal pictorial surface. Stażewski's reliefs broke away from the traditional pictorial flatness and underscored the artist's interest in the tactile qualities of used materials, forging a new theoretical space with which to articulate color. Moreover, the artist's emphasis on tactility and materiality recalls the Russian Constructivist engagement with
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Constructivism", an artist who "pioneered the classical avant-garde in the 1920s and 1930s", and "one of the most important" Polish artists to link the pre and post-war "Avant-garde tendencies". Stażewski's work is said to have "paved the way for the revitalization of geometric art" and has served as a source of inspiration for the younger generation of Polish postwar artists.
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900:, a space that would become a nexus of Warsaw avant-garde artists and intellectuals in the following years. During the early post-war era, he returned to painting and experimented with various modernist styles, including biomorphic abstraction—which evokes forms and shapes found in nature—and semi-figurative compositions inspired by
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Participating in the artistic program of Foksal provided Stażewski with an opportunity to exhibit his work in a more experimental space. He also continued to facilitate connections with international artists. Throughout the 1970s, he worked alongside Włodzimierz
Borowski, Tadeusz Kantor, the American
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Henryk Stażewski (1894-1988) had a long artistic run in two different versions of his home country: first as a pioneer of the avant-garde in the Polish
Republic between 1918 and 1939 and then his later, but no less experimental career in the communist Polish People's Republic founded in the post-war
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art dealer, organized a show of Stażewski's work at
Chicago's Contemporary Art Gallery, the artist's first solo exhibition in the United States and an opportunity to introduce his reliefs to the wider American public. In subsequent years, Stażewski's work was also shown at Marlborough-Gerson Gallery
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between July and
October 1948. Although fired from his position at the Institute in 1949, Stażewski was able to carefully navigate the new socio-political system, avoiding the fate of his fellow avant-garde collaborators, Strzemiński and Kobro, who had been accused of reactionary cultural activities
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from 1972 to 1976. He also developed a close artistic relationship with Edward Krasiński. He and Krasiński shared an apartment at Aleja
Solidarnosci in Warsaw from 1970 until Stażewski's death in 1988. The space, which had served as a salon for Polish artists and intellectuals during the last three
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in New York, featured Stażewski's work in a group exhibition, offering him an early exposure to the
American market. Examining Stażewski's writings from that period, art historian Marta Zboralska argues that the artist saw himself as an "active contributor to the enquiry into abstraction throughout
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and invited the artist to visit his studio. Malevich's theories of painting had served as a crucial point of reference for
Russian Constructivists and avant-garde artists across Central and Eastern Europe; he is said to have made a lasting impact on Stażewski in particular, who examined some of the
549:, line, and color"—the Constructivist artists were not completely beholden to the notions of intuition or talent, imbuing the process of art making with a sense of objectivity and collective labor. In 1924, following the Vilnius exhibition, Stażewski, working with Strzemiński and Strzemiński's wife
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Owing to his multifaceted practice and a long-standing career, Stażewski has had an important influence on the history of Polish and
European modern and contemporary art. He has been described as "the father of the Polish avant-garde", "one of the classic figures in the history of Eastern European
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In the 1970s, Stażewski explored the visual properties of line. His paintings and drawings from that period show an investigation into the possibilities afforded by line, including the monochromatic grid. Geometry remained a critical reference point for the artist and he considered it an "innate
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For Stażewski, the connection between art and science was crucial, and he argued that "a painting's systematic quality connected it to contemporary civilization in a unilateral action—from science and machines to works of art". Through analyzing the constituent parts of their painting—that is,
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in Łódź. The design of the room was conceived by Władysław
Strzemiński in 1948, inspired by interactions of primary colors typical of De Stijl movement, complemented by black, white and grey tones. The display was shut down in 1950 by the communist regime, until it was reconstructed based on
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sculptures, a medium that preoccupied him in the following decades and became his most recognized body of work. First exhibited in 1959, Stażewski's reliefs deployed diverse media and embraced various non-figurative visual vocabularies inspired by his interwar investigations into geometric
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precipitated the return of modernism. While Poland had become one of the first countries among the Soviet satellite states to embrace the Thaw, the cultural shift was a gradual process. Toward the end of the Stalinist regime, Stażewski and Łunkiewicz-Rogoyska were commissioned to paint a
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devoted to his oeuvre. In his review of the exhibition, critic and art historian Marek Bartelik wrote that, for Stażewski's Polish admirers, "his uncompromising stance serves today as a confirmation of their belief in the infinite depth and superiority of geometric abstraction".
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During the late 1970s, Stażewski also became interested in creating environments, reimagining his paintings in three-dimensional spaces, informed by his interest in psychology. He continued to exhibit internationally throughout the 1980s, participating in solo and group shows at
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and Jan Lebenstein, among others. Focused almost exclusively on non-representational art and organized by a major U.S. institution, the show championed abstraction as a symbolic manifestation of Poland's cultural and political freedom during the Cold War era.
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Abstract art is not something detached from the external world surrounding us; and yet it ceases to be descriptive and operates by purely artistic means (...) The only purpose of the new abstract fine arts is to express the laws governing things and
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Cytlak, Katarzyna (2021). "Chapter 14: Multiple Resistances to the Concept of Modernism. The Emergence of Artistic–Poetic Networks between Eastern Europe and Latin America in the Late 1960s and 1970s". In Frigeri, Flavia; Handberg, Kristian (eds.).
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in Paris. In 1980, Stażewski proposed a cultural exchange between Poland and the United States, inviting contemporary American artists to donate their works to the Muzeum Sztuki in Łódź and offering a collection of works from Polish artists to the
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liaison between Polish artists and the West" in the interwar period. While working with Constructivist groups in Poland during the 1920s, Stażewski traveled frequently and participated in several international exhibitions, including the 1926
1242:, the reliefs made of metal simulate "the effect of depth by rhythmically layering shapes and optical effects on the surface, exchanging visual determinism for the randomness of reflected light". In 1964, Kazimir Karpuszko, a Polish
1005:, Stażewski continued to organize regular clandestine gatherings for avant-garde artists in his Warsaw apartment, and wrote (at that time unpublished) texts about abstraction. The death of Stalin in 1953 and the subsequent political
591:—as a radical tool to foster social and political transformation, thus bringing art into the service of the people. In a text from 1924, Stażewski emphasized the important role that abstraction plays in constructing a modern society:
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By the second half of the 1930s, Stażewski returned to representational art while still exhibiting abstract paintings and graphic design in Poland and other European countries. He also supported himself financially through portrait
1335:, where his relief works received an honorable mention. Throughout the 1960s, Stażewski collaborated regularly with contemporary galleries in and outside of Poland. Key among them was his long-standing collaboration with
1481:. The project, coordinated by the Polish artist Anna Ptaszkowska, resulted in an exhibition titled "Une expérience muséographique d'échange entre artistes Pologne-USA: 1931-1982", organized in collaboration with the
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Some scholars indicate the year 1957 as the beginning of Stażewski's relief works, but recent research has shown he started applying the name "relief" and explored three-dimensionality in painting as early as 1956.
673:, Malevich coined the term Suprematism to promote the supremacy of "non-objective art of 'pure feeling', unconcerned with representation of the visible world". Stażewski helped organize Malevich's exhibition at
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notes that Stażewski "did not succumb to any stylistic categories". At the same time, scholar Christina Lodder points to the continued relevance of Russian avant-garde art, including that of Malevich, whose
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Skowronek, Thomas (2016). "Crossing the Border: The Foksal Gallery from Warsaw in Lausanne/Paris (1970) and Edinburgh (1972 and 1979)". In Bazin, Jerome; Dubourg Glatigny, Pascal; Piotrowski, Piotr (eds.).
1700:) completed in 1950, in which a tractor driver is seen traversing the eponymous reclaimed land, and exhibited at the Second National Display of Plastic Arts at the Zacheta National Gallery of Art in 1952.
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in Łódź in 1931, the first museum in Europe dedicated to showcasing and collecting modern art. Stażewski's career was hindered by the outbreak of World War II and most of his work was destroyed during the
204:; 9 January 1894 – 10 June 1988) was a Polish painter, visual artist and writer. Stażewski has been described as the "father of the Polish avant-garde" and is considered a pivotal figure in the history of
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society in the aftermath of the Great War (later known as World War I), recognizing the role of an artist as that of an engineer as well as a scientist aiding in the process of social transformation.
634:(1929–1936), both of which also became critical in defining the direction of Constructivism in Poland. As a member of these groups, Stażewski contributed to Polish Constructivism through typography,
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at the new headquarters of state-controlled Metalexport company in Warsaw, which opened in 1954. In recognition for his artistic contributions to the Polish People's Republic, Stażewski received a
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Bazin, Jérôme; Hornyik, Sándor; Milovac, Tihomir; Stańczyk, Xawery (2018). "Narratives and Places of Cultural Opposition in the Visual Arts". In Apor, Balázs; Apor, Péter; Horváth, Sándor (eds.).
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Stażewski's works are included in permanent collections of museums in Europe and the United States. For his contributions to Central and Eastern European culture, the artist was awarded the 1972
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Between 1950 and 1952, he completed multiple figurative paintings to align himself with the demands of the state. Among Stażewski's surviving Socialist Realist works is an oil painting titled
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By the mid-1960s, Stażewski had begun using aluminum and copper for his relief work, shunning painted material in favor of the intrinsic color properties of metal. According to art historians
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key ideas of the movement regarding the autonomy of art and the superiority of non-objective visual forms in relation to his own artistic practice during the late 1920s and the early 1930s.
1564:, a comprehensive survey exhibition organized at the Museum of Modern Art in New York that examined parallels between art in Eastern Europe and Latin America during the 1960s and 1970s.
330:, Stażewski helped facilitate unofficial cultural exchanges with numerous Western artists. In 1966, he initiated a years-long collaboration with the non-commercial gallery space
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In 2009, Daniel Buren, with whom Stażewski had collaborated during the 1970s, designed a temporary display space for several of Stażewski's reliefs at the Muzeum Sztuki, titled
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became the first Polish Constructivist collective focused on gathering like-minded artists, designers, architects, and theorists to help improve the lives of ordinary citizens.
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and other contemporary artists who exhibited at Foksal throughout the 1980s, Stażewski continued to cultivate international artistic connections with the West during the late
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Markowska, Anna (2020). "Malarstwo w poszerzonym polu. Sala Neoplastyczna jako suplement i obraz szkatułkowy". In Kiepuszewski, Ł.; Haake, M.; Juszkiewicz, P. (eds.).
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in early September 1939, the building which housed Stażewski's studio in Warsaw was bombed, destroying most of his work. Stażewski remained in Poland and lived under
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1119:, 1966, aluminum, in 1964, Stażewski began making reliefs using copper and aluminum that highlighted the intrinsic visual properties of metal (private collection)
1038:" speech, which disavowed Stalinism and ushered in the political thaw. That year Stażewski joined the newly opened gallery space of the Crooked Circle Club where
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Between 1960 and 1962, Stażewski held three exhibitions at the Crooked Circle Gallery in Warsaw. He continued to show his relief work, including a series called
1134:, 1969 illustrates Stażewski's continued reliance on simple geometric shapes to formulate the visual vocabulary of his polychromatic reliefs (private collection)
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Stażewski experimented with color and geometry in diverse visual and aesthetic registers throughout his career. In 1970, he participated in the art symposium
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In Poland, several of Stażewski's works, including a large-scale geometric metal sculpture modeled after one of his abstract reliefs, were included in the
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surviving photographs. The exhibition space was expanded in 2010 to include a wider range of interwar and contemporary art from the museum's collection.
1509:, for instance, closely modeled her early textile works on Stażewski's reliefs and relied on the artist's use of "contrast as an organising principle".
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Hartmann, Doris (2016). "Constructive-Concrete Art in GDR, Poland, and Hungary". In Bazin, Jérôme; Glatigny, Pascal Dubourg; Piotrowski, Piotr (eds.).
1432:, an exhibition devoted to the history of Polish Constructivism organized at the Museum of Modern Art in New York, which traveled the same year to the
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the 1960s and beyond". Distancing himself from the influences of Malevich and Mondrian, Stażewski stressed in an essay written in 1968 the impact of
1030:(Crooked Circle Club) in Warsaw, an independent cultural initiative for avant-garde artists, writers, and intellectuals. In 1956, Stalin's successor
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While had never visited Russia, Stażewski was familiar with several key artists associated with the Russian avant-garde during the 1920s, including
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during the 1940s and 1950s. In 1994, to commemorate the 100th anniversary of Stażewski's birth, Muzeum Sztuki in Łódź organized a major posthumous
1100:, 1963 in which the artist created a monochromatic textural composition used oil paint and wood, recalling Constructivist engagement with faktura (
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1420:, an artwork made of colorful beams of light projected onto the night sky that released color from its previous pictorial confines. In 1972, the
884:), 1947, after the end of World War II, Stażewski experimented with various modernist styles, including semi-figurative compositions inspired by
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tendencies to Polish art. Among the participating artists who would have a significant impact on Stażewski's approach to artistic production was
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The Vilnius exhibition in 1923, which included works by avant-garde artists from across Eastern Europe and Russia, is credited with introducing
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382:. He was one of the four children of Leonard Rafał Stażewski, the owner of a small foundry on Wspólna Street in central Warsaw, and Michalina (
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3271:"Daniel Buren: Hommage à Henryk Stazewski, Cabane éclatée avec tissu blanc et noir, travail situé, 1985–2009: Musealisierung der Kritik?"
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Kulicz, K. (1965). "Ta sztuka chce wyrazac ruch i przestrzen—Henryk Stazewski. Rozmawiamy z lauretami Nagrod Ministra Kultury i Sztuki".
1953:Ładnowska, Janina (1994a). "Kalendarium życia i dzieła Henryka Stażewskiego" [Chronology of Life and Work of Henryk Stażewski].
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Crowley, David (2024). "The Aura of the Avant-garde—Henryk Stażewski's Contributions to the Exchange". In Pindera, Agnieszka (ed.).
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Moskalewicz, Magdalena (2022). "Knots: Abakanowicz and the Polish Art Scene in the 1960s". In Coxon, Ann; Jacob, Mary Jane (eds.).
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As an artist, Stażewski's reputation primarily lay in his pioneering role in the development of abstract act in the early 1920s.
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Sto wielkich dni Wroclawia: wystawa Ziem Odzyskanych we Wroclawiu a propaganda ziemi zachodnich i polnocnych w latach 1945–1948
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in 1927. He also developed and cultivated relationships with representatives of Western European avant-garde groups, including
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While taking on various part-time projects for the government including retouching official portraits of party members at the
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Turowski, Andrzej (2005). "Stażewski Internacjonał". In Jurkiewicz, Małgorzata; Mytkowska, Joanna; Borowski, Wiesław (eds.).
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971:—that had been officially imposed by the communist regime in 1949. However, he had never fully committed to the naturalistic
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Mansbach, Steven (2012). "Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in America".
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was dissolved in 1926 due to internal disagreements, Stazewski became one of the co-founders of the avant-garde collectives
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Moskalewicz, Magdalena (2021). "Three Scenes from the Artistic Life of Henryk Stażewski". In Tomaszewski, Patryk P. (ed.).
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in Central and Eastern Europe. His career spanned seven decades and he was one of the few prominent Polish artists of the
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537:, in Moscow. While in Moscow, Strzemiński investigated various ways in which art could be harnessed to construct a new,
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expected of Soviet Socialist Realist artists. In 1950, Stażewski was named a member of the selection committee for the
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Stażewski's works are included in the permanent collections of museums in Europe and the United States, including the
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1867:"Międzynarodowa Kolekcja Sztuki Nowoczesnej Muzeum Sztuki w Łodzi i jej znaczenie dla dziedzictwa kulturowego Europy"
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1428:, a survey show of geometric abstract art in the first four decades of the 20th century. In 1976, he was featured in
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In 1945, shortly after the war ended, Stażewski moved to Warsaw and was hired as the head of the art studio at the
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in Warsaw. Later that year, he showed his work—together with several early compositions by a fellow Polish painter
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3141:. Budapest: Institute of History, Research Centre for the Humanities. Hungarian Academy of Sciences. p. 253.
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district) and imbued the Polish avant-garde, up until then largely autonomous, with a sense of social commitment.
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in Warsaw, which played a critical role in the development of the Polish post-war avant-garde. Working alongside
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Kemp-Welch, Klara (2010). "Articulating the 'between': Stażewski's Critical Spaces". In Świtek, Gabriela (ed.).
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3118:(Exhibited initially in Paris in 1982 and later in Belfast in 1983. No page numbers.). Belfast: Ulster Museum.
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Stażewski died in Warsaw on 10 June 1988, aged 94. His funeral was held on 17 June and he is interred at the
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Daniel Buren / Hommage à Henryk Stazewski. Cabane éclatée avec tissu blanc et noir, travail situé, 1985–2009
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Inglot, Joanna (2004). "Abakanowicz's Artistic Beginnings. The Polish Cultural Milieu from 1945 to 1960".
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According to literary scholar Michał Wenderski, Stażewski "played an invaluable part by functioning as a
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who remained active and gained further international recognition in the second half of the 20th century.
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Lodder, Christina (2018). "Henryk Stażewski: The Suprematist Dimension". In Szczepaniak, Andrzej (ed.).
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2621:(List of individuals who were given awards by the Polish People's Republic in 1955) (in Polish). 1955
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1300:, 1973. During the 1970s, Stażewski's work often examined the compositional properties of a straight
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2862:"The Image of Art between Ideology and Modernity. Elblag Biennales of Spatial Forms in 1960s Poland"
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1837:"New approaches to art and life in the Polish People's Republic: Henryk Stażewski at Muzeum Sztuki"
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3116:"An artistic conversation, 1931-1982: Poland/USA": translation supplement Ulster Museum, Belfast
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514:(Issue 1, 8 March 1924) designed by Stażewski, which also included some of his early writing on
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Brokers of modernity : East Central Europe and the Rise of Modernist Architects, 1910–1950
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politics, Polish Constructivists associated with Blok had sought to use abstraction—applied to
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3385:"Sotheby's Milano. Morandi come nessuno mai, Boetti e Fontana tra i top lot dell'asta di casa"
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3250:(Exh. cat.) (in Spanish). Las Palmas de Gran Canaria: Centro Atlántico de Arte Moderno. 1990.
3200:
3175:
3150:
3119:
3094:
3069:
3039:
2963:
2937:
2887:
2840:
2817:
2771:
2746:
2703:
2666:
2564:
2534:
2498:
2473:
2448:
2423:
2315:
2281:
2232:
2189:
2131:
2103:
2068:
2058:
2026:
1960:
1878:
1812:
1779:
1747:
1533:
1082:
1039:
1031:
964:
777:. The influence of De Stijl can be found in Stażewski's work from around that time, including
762:
311:
266:
238:
2400:
1795:
Mr. Stazewski is one of the classic figures in the history of Eastern European Constructivism
1143:
in Warsaw. The exhibition space consisted of large, protruding panels designed by the Polish
1081:, an intention to accentuate the work's physical qualities as a way to challenge traditional
245:. During the 1920s and 1930s, he became acquainted with and influenced by prominent European
4832:
4760:
4148:
4066:
4025:
3989:
3886:
3804:
3142:
2877:
2869:
2809:
2678:
2371:
2362:
2273:
2222:
2095:
2087:
1659:, becoming one of the highest prices paid at auction for a 20th-century Polish work of art.
1635:
Several of his geometric abstracts from the interwar period are on permanent display at the
1386:
in 1974 for Stażewski's show. Stażewski and Buren would later work together on a project at
1364:
1356:
1281:, 1970. The artwork was made from color light beams projected onto the night sky during the
1215:
1051:
837:
817:
666:
655:
580:
347:
254:
164:
3335:(in Polish). Poznań: Wydawnictwo Naukowe Uniwersytetu Adama Mickiewicza. pp. 149–177.
2643:
939:. Earlier that year, Stażewski had co-designed decorative glass panels for the large-scale
856:(1945), having mostly abandoned artistic production during that period, except for several
691:
5126:
4587:
4452:
4313:
3984:
3891:
3835:
3829:
3767:
2210:
1625:
1589:
1469:
1368:
1301:
1293:
1199:
1006:
932:
829:
643:
550:
375:
318:
294:
213:
68:
5003:
4894:
4200:
4138:
3772:
3442:(exh. cat., ed. H. Gresty and J. Lewinson; Cambridge, Kettle's Yard; Łódź, Mus. A.; 1984)
1157:
2021:
Levinger, Esther (2022). "Chapter 2: Constructivist Visions of Totality and Happiness".
618:
and Szczuka who were considered leading figures in Polish avant-garde typography. After
5054:
4998:
4946:
4853:
4458:
4277:
3979:
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3726:
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2796:
1375:
1352:
1336:
1220:
1203:
774:
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588:
452:
402:
379:
339:
331:
282:
873:
5141:
5121:
5049:
4899:
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4566:
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4396:
4349:
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3618:
3608:
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2899:
2293:
1553:
1537:
1529:
1513:
1316:
1263:
1259:
1144:
1047:
766:
714:
635:
448:
421:
270:
495:
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4931:
4786:
4385:
4030:
3912:
3535:
2277:
2211:"From Łódź to Leiden—On International Contacts of the Polish Inter-war Avant-garde"
1676:
1525:
1445:
1379:
1348:
1248:
1232:
1224:
972:
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and whose careers had been effectively destroyed by the emergent Stalinist regime.
936:
778:
358:
343:
327:
258:
146:
5188:
Recipients of the Medal of the 10th Anniversary of the People's Republic of Poland
4909:
2445:
The Figurative Sculpture of Magdalena Abakanowicz. Bodies, Environments, and Myths
1652:
1262:
relief compositions, often made with wood on Masonite board and painted over with
1139:
In 1959, Stażewski exhibited the reliefs for the first time during a solo show at
2835:
Fawkes, Maja; Fawkes, Reuben (2020). "Chapter 2. 1960s: Gestures of Liberation".
5075:
4987:
4729:
4602:
4056:
3731:
3492:
3333:
Obraz jako obiekt teoretyczny. Studia z teorii i historii badań nad sztuką, T. 2
2559:
Tomaszewski, Patryk P. (2021). "Henryk Stażewski's Path to Reliefs, 1950-1959".
2493:
Suchan, Jarosław (2017). "Kobro and Strzemiński: Prototypes of a New Thinking".
1990:
1629:
1465:
967:—a Soviet figurative art doctrine reliant on idealized depictions of life under
849:
748:
670:
662:
436:
395:
250:
246:
17:
3455:(exh. cat., ed. T. Benson; Los Angeles, Los Angeles County Museum of Art, 2002)
3270:
3139:
The Handbook of Courage: Cultural Opposition and Its Heritage in Eastern Europe
2683:
1954:
474:—at the Polish Artists' Club in Warsaw. In 1922, Stażewski was included in the
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4241:
4158:
2227:
2072:
1605:
1521:
1320:
1286:
1211:
1140:
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956:
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661:
In March 1927, Stażewski was among several Polish artists hosting the Russian
630:
584:
409:
233:
127:
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3123:
2891:
2882:
2821:
2285:
2236:
1882:
1783:
3669:
3460:
In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945–1989
3298:"Review: 'Transmissions' at MoMA Explores an Era When Art Upended Tradition"
3255:
1744:
In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945-1989
1344:
968:
821:
647:
538:
534:
3447:
Modern Art in Eastern Europe: From the Baltic to the Balkans, ca. 1890–1939
2873:
2768:
Divided Dreamworlds? The Cultural Cold War in East and West (edited volume)
2052:
1959:(exhibition catalogue) (in Polish). Łódź: Muzeum Sztuki. pp. 102–171.
1448:
for his contributions to the visual culture of Central and Eastern Europe.
3411:"Wróblewski, Opałka i Abakanowicz. 10 najdroższych prac polskich artystów"
1576:
Stazewski's interwar compositions displayed in the Neoplastic Room at the
896:. He took an apartment on Piękna Street with the artists Jan Rogoyski and
3556:
3504:
3357:
1070:
1018:, a medal awarded for distinguished contributions to the state, in 1955.
825:
770:
624:
444:
413:
391:
262:
227:
123:
3468:(exh. cat., ed. W. Smużny and J. Ładnowska; Toruń, Office A. Exh., 1980)
374:
Henryk Stażewski was born in Warsaw on 9 January 1894, then part of the
2671:
Acta Universitatis Nicolai Copernici. Zabytkoznawstwo i Konserwatorstwo
1621:
1461:
1228:
1078:
1062:
812:, Stażewski co-organized the International Collection of Modern Art in
546:
487:
432:
3146:
1061:
form as his medium. Using a variety of unorthodox materials including
427:
Stażewski graduated from the academy in 1919, a year after Poland had
3453:
Central European Avant-gardes: Exchange and Transformation, 1910–1930
3172:
Art Beyond Borders: Artistic Exchange in Communist Europe (1945–1989)
2934:
Art Beyond Borders: Artistic Exchange in Communist Europe (1945–1989)
2766:
Bugajski, Jill (2012). "Tadeusz Kantor's Publics--Warsaw--New York".
2420:
God's Playground. A History of Poland. Volume II: 1795 to the present
1331:
In 1966, Stażewski was one of the artists representing Poland at the
1243:
1074:
1058:
860:
and landscapes, virtually none of which have survived till this day.
440:
322:
274:
3114:
Stażewski, Henryk (1983). Hultén, Pontus; Ptaszkowska, Anna (eds.).
2051:
Kohlrausch, Martin (2019). "3. Organising New Architectural Goals".
2023:
Constructivism in Central Europe. Painting, Typography, Photomontage
383:
2960:
New Histories of Art in the Global Postwar Era. Multiple Modernisms
2813:
2086:
Lodder, Christina; Benus, Benjamin (2012). Benus, Benjamin (ed.).
1656:
1391:
1307:
1292:
1273:
1169:
1011:
872:
505:
3174:. Budapest: Central European University Press. pp. 201–209.
2936:. Budapest: Central European University Press. pp. 381–393.
2667:"Materiały i konstrukcja wybranych reliefów Henryka Stażewskiego"
1562:
Transmissions: Art in Eastern Europe and Latin America, 1960–1980
3089:
Pindera, Agnieszka; Polit, Paweł; Słaboń, Natalia, eds. (2023).
2745:(in Polish). Warsaw: Foksal Gallery Foundation. pp. 29–31.
1190:
made in 1961. In August 1961, several of these were included in
951:
of parts of Germany—which had become a centerpiece of the early
558:, or the Blok Group of Cubists Constructivists, and Suprematists
529:, who had previously studied at two Constructivist collectives,
3508:
1679:, who had briefly stayed in Poland en route to Berlin in 1921.
1054:
and other contemporary painters would also exhibit their work.
2335:
2057:. Leuven (Belgium): Leuven University Press. pp. 97–129.
191:
176:
2913:
Stażewski, Henryk (1968) . "Wypowiedź Henryka Stażewskiego".
431:
its independence. His paintings at the time were inspired by
378:, a semi-autonomous state under the political control of the
2529:
Szczepaniak, Andrzej (2018). "Henryk Stażewski, 1894-1988".
1395:
decades of communist rule in Poland, was later renamed the
1214:
Madeleine Chalette-Lejwa and Arthur Lejwa, the founders of
179:
173:
3473:
Konstruktywizm polski: Próba rekonstrukcji nurtu 1921–1934
2837:
Central and Eastern European Art Since 1950 (World of Art)
1401:(Avant-garde Institute) and opened to the public in 2007.
1382:, who re-designed the exhibition space of the Paris-based
2770:. Amsterdam: Amsterdam University Press. pp. 53–73.
2612:"Uchwała Rady Państwa z dnia 11 lipca 1955 r. nr 0/1085a"
2497:(exhibition catalogue). Łódź: Muzeum Sztuki. p. 64.
1430:
Constructivism in Poland, 1923–1936: Blok, Praesens, a.r.
2447:. Berkeley: University of California Press. p. 24.
739:(after a 1930 painting of the same title), Muzeum Sztuki
326:
abstraction. During the 1960s, still working behind the
3091:
The 1982 Cultural Exchange Between Łódź and Los Angeles
2702:. Warsaw: Foksal Gallery Foundation. pp. 306–317.
2563:. New York: The Kosciuszko Foundation. pp. 16–34.
2130:. New York: The Kosciuszko Foundation. pp. 30–37.
1809:
The 1982 Cultural Exchange Between Łódź and Los Angeles
1746:. Translated by Brzyski, Anna. London: Reaktion Books.
1194:, a major exhibition of Polish contemporary art at the
1182:, New York) was reproduced by Henryk Stażewski in 1962.
638:, theoretical writings (including publications for the
2677:(43). Torun: Nicolaus Copernicus University: 227–256.
642:
magazine published between 1923 and 1926), as well as
289:, Stażewski was also one of the key artists—alongside
947:)—a sweeping display celebrating the Polish post-war
562:
Grupa Kubistow, Konstruktywistow i Suprematystow Blok
200:
188:
185:
182:
167:
3036:
Henryk Stażewski. W setną rocznicę urodzin 1894–1988
2422:. New York: Columbia University Press. p. 426.
1956:
Henryk Stażewski. W setną rocznicę urodzin 1894–1988
1715:
904:(evident, for instance, in the 1947 painting titled
170:
4918:
4533:
4167:
3791:
3543:
2917:(magazine) (in Polish). No. 2. pp. 63–66.
2586:"Powojenny optymizm i "epidemia grypy" (1946–1954)"
1906:"Review of Henryk Stazewski at Muzeum Sztuki (MS1)"
1596:(formerly known as Albright–Knox Art Gallery), the
1374:Outside of Foksal, he collaborated with the French
133:
114:
104:
94:
75:
53:
34:
3296:
3248:Henryk Stazewski: pionero polaco del arte concreto
3010:
2795:
2743:Henryk Stażewski. Ekonomia myślenia i postrzegania
2361:
1904:
3034:Ładnowska, Janina (1994). "Sztuka wolnego ładu".
2646:(Museum website) (in Polish). Łódź: Muzeum Sztuki
2151:Cramer, Charles; Grant, Kim (28 September 2019).
1871:Studia Europejskie – Studies in European Affairs
219:Stażewski rose to prominence as a co-founder of
1036:On the Cult of Personality and Its Consequences
593:
48:Stażewski at his Warsaw studio during the 1980s
3038:(in Polish). Łódź: Muzeum Sztuki. p. 24.
2860:Błotnicka-Mazur, Elżbieta (27 December 2019).
390:in 1913, where he studied under the prominent
3520:
2984:"Galerie 1–36 – Eustachy Kossakowski archive"
2839:. London: Thames and Hudson. pp. 41–71.
2495:Kobro and Strzemiński: Avant-Garde Prototypes
2472:(in Polish). Wroclaw: Wydawnictwo Arboretum.
8:
2727:(in Polish). No. 34. Warsaw. p. 4.
2249:: CS1 maint: DOI inactive as of June 2024 (
1396:
1258:in 1965. By 1968, Stażewski had returned to
1167:from 1915 Stażewski had reproduced in 1962.
697:
455:representation. In 1921, he participated in
241:which spearheaded the development of Polish
3199:. London: Tate Publishing. pp. 31–65.
2868:(9). Lisbon: University of Lisbon: 97–106.
1235:was influential in both Europe and the US.
1057:Around 1956, Stażewski began exploring the
931:in December 1948, Poland was turned into a
601:Henryk Stażewski, Concerning Abstract Art,
3527:
3513:
3505:
2312:Henryk Stażewski (ed. Andrzej Szczepaniak)
1701:
1351:(exhibited at Foksal in 1976), the French
919:became President of Poland. Following the
796:In 1929, Stażewski became a member of the
468:Society for the Encouragement of Fine Arts
31:
2881:
2682:
2584:Gołębiowska, Barbara (26 November 2019).
2376:10.1093/gao/9781884446054.article.T081120
2226:
2100:10.1093/gao/9781884446054.article.T019194
1556:to the late artist. In 2015, Stażewski's
1256:First Biennial of Spatial Forms in Elbląg
1165:Suprematist Composition: Aeroplane Flying
3466:Henryk Stażewski: Dzieła z lat 1923–1980
3358:"Sala Neoplastyczna. Kompozycja otwarta"
2644:"Stefan Gierowski i Galeria Krzywe Koło"
2314:. Milan: Skira Editore. pp. 37–49.
2188:. Milan: Skira Editore. pp. 25–37.
1571:
1487:Musee d’Art Moderne de la Ville de Paris
1176:Suprematist Composition: Airplane Flying
981:First Nationwide Display of Plastic Arts
773:movement, as well as the French painter
682:Relationships with European Avant-gardes
669:during his trip to Warsaw. A pioneer of
2962:. New York: Routledge. pp. 57–69.
2533:. Milan: Skira Editore. pp. 9–25.
2209:Wenderski, Michał (21 September 2018).
2153:"Suprematism, Part I: Kazimir Malevich"
1731:
1668:
1532:initiated in 1930 by the Dutch painter
1483:Museum of Contemporary Art, Los Angeles
1479:Museum of Contemporary Art, Los Angeles
1367:(1978), and the American conceptualist
1087:
3440:Constructivism in Poland, 1923 to 1936
2789:
2787:
2638:
2636:
2561:Henryk Stażewski: Constructing Reliefs
2394:
2392:
2340:Muzeum Sztuki w Łodzi (www.msl.org.pl)
2310:Lemoine, Serge (2018). "To the West".
2305:
2303:
2242:
2128:Henryk Stażewski: Constructing Reliefs
2046:
2044:
2042:
1948:
1946:
1944:
1680:
1026:In 1955, Stażewski became a member of
321:, Stażewski began working on abstract
2926:
2924:
2736:
2734:
2554:
2552:
2550:
2524:
2522:
2520:
2518:
2516:
2514:
2179:
2177:
2175:
2173:
2121:
2119:
2016:
2014:
2012:
1942:
1940:
1938:
1936:
1934:
1932:
1930:
1928:
1926:
1924:
1765:
1763:
1737:
1735:
1524:recognized Stażewski as a pioneer of
482:) in Warsaw and a year later, in the
317:Following the cultural and political
7:
3383:Landoni, Davide (24 November 2022).
3295:Cotter, Holland (3 September 2015).
2665:Warszewska-Kołodziej, Agata (2012).
2407:. Warsaw: Adam Mickiewicz Institute.
1984:
1982:
1980:
1978:
1976:
1898:
1896:
1894:
1892:
1811:. Łódź: Muzeum Sztuki. p. 109.
1606:Zachęta, the National Gallery of Art
3068:. Łódź: Muzeum Sztuki. p. 23.
2797:"Henryk Stażewski's Art in America"
2399:Wróblewska, Magdalena (July 2010).
1997:. Warsaw: Adam Mickiewicz Institute
1647:In November 2022, Stażewski's 1969
1536:, which later gained popularity in
945:Exhibition of Recovered Territories
492:International Exhibition of New Art
285:, among others. As a member of the
3220:Cramer, Hilton (7 February 1976).
2025:. Leiden: Brill. pp. 95–172.
1989:Kossowska, Irena (December 2001).
1903:Bartelik, Marek (September 1995).
1865:Jurkiewicz-Eckert, Dorota (2006).
1772:"Art: Cletus Johnson's 'Theaters'"
1390:, an experimental space active in
755:Paris Exhibition of Theatrical Art
502:Polish Constructivism (1924–1930s)
476:Trzecia Wystawa Grupy Formistów F9
25:
3269:Partum, Berenika (8 March 2009).
2794:Zboralska, Marta (1 March 2023).
277:painter and later founder of the
5153:20th-century Polish male artists
3009:Haidu, Rachel (September 2007).
2990:. Museum of Modern Art in Warsaw
2802:Archives of American Art Journal
1518:Centro Atlántico de Arte Moderno
1444:. That year, he was awarded the
1426:Geometric Abstraction, 1916–1942
1198:in New York, alongside works by
1124:
1109:
1090:
721:
690:
553:among other artists, co-founded
163:
42:
3501:in Museum of Modern Art, Warsaw
3222:"Art: Constructivism in Poland"
2619:European Legislation Identifier
2401:"Maria Ewa Łunkiewicz-Rogoyska"
983:), the inaugural exhibition of
977:I Ogólnopolska wystawa plastyki
894:Military Geographical Institute
480:The Third Formist Exhibition F9
2278:10.5612/slavicreview.71.3.0489
1835:Glisic, Iva (16 August 2023).
1770:Kramer, Hilton (21 May 1976).
1651:was sold for €1.03 million at
1231:artists whose engagement with
614:, Stażewski collaborated with
408:paintings from 1915—including
386:Skibicka). He enrolled at the
297:—involved in the formation of
249:artists, including the Soviet
1:
1610:Museum Boijmans Van Beuningen
1415:Infinite Vertical Composition
1279:Infinite Vertical Composition
898:Maria Ewa Łunkiewicz-Rogoyska
707:
5148:20th-century Polish painters
4963:George Demetrius Bambiniotis
3417:(in Polish). 1 December 2021
3062:Henryk Stażewski. Late Style
1698:On the Recovered Territories
1528:, originally an offshoot of
1418:(9 Rays of Light in the Sky)
1325:Museum of Modern Art, Warsaw
955:and was held in the city of
913:rigged legislative elections
869:Stalinist Poland (1948–1956)
3012:"Edward Krasinski's Studio"
2468:Tyszkiewicz, Jakub (1997).
2370:. Oxford University Press.
2094:. Oxford University Press.
996:Central Photographic Agency
424:in Stażewski's early work.
388:Warsaw Academy of Fine Arts
99:Warsaw Academy of Fine Arts
5204:
2684:10.12775/AUNC_ZiK.2012.012
1742:Piotrowski, Piotr (2011).
1614:Hungarian National Gallery
1602:Museum of Contemporary Art
1598:Museum of Contemporary Art
1464:, Monumentum Fine Arts in
1458:Staatliche Kunstsammlungen
963:Soon, Stażewski turned to
888:(Starak Family Foundation)
420:—reveals the influence of
27:Polish painter (1894–1988)
4849:Vera Bitrakova-Grozdanova
4614:Vasilka Gerasimova-Tomova
4123:Apostolos E. Vacalopoulos
2231:(inactive 26 June 2024).
2228:10.5604/01.3001.0012.5067
1716:Warszewska-Kołodziej 2012
1494:Powązki Military Cemetery
1434:Detroit Institute of Arts
989:National Museum in Warsaw
915:, the hardline Stalinist
304:Nazi occupation of Poland
41:
4433:Zoe Dumitrescu-Bușulenga
4376:Johannes Karayannopoulos
1639:(Sala Neoplastyczna) at
1442:Art Institute of Chicago
1405:Late career (1970s–1988)
1378:artist and art theorist
1010:worker-themed realistic
985:Polish Socialist Realism
941:Wystawa Ziem Odzyskanych
911:In 1947, as a result of
401:. A surviving series of
370:Education and early work
273:, as well as the French
88:Polish People's Republic
5168:Herder Prize recipients
5060:Kazimir Popkonstantinov
4957:Evanghelos Moutsopoulos
4828:Justinas Marcinkevičius
4489:Nikos Gabriel Pentzikis
3665:Alexandru A. Philippide
3567:Lucijan Marija Škerjanc
3093:. Łódź: Muzeum Sztuki.
3059:Crowley, David (2023).
2700:Avant-garde in the Bloc
2590:Mewa. M. Ewa Łunkiewicz
2418:Davies, Norman (2005).
2336:"History of the Museum"
1853:world order after 1945.
1560:(1963) was featured in
1371:(1979), among others.
1192:Fifteen Polish Painters
1178:, oil on canvas, 1915 (
577:functional architecture
118:Polish Constructivism,
4802:Dunja Rihtman-Auguštin
4248:Władysław Bartoszewski
4212:Athanasios Aravantinos
4129:Gordana Babić-Đorđević
2874:10.37935/aion.v0i9.242
1594:Buffalo AKG Art Museum
1581:
1424:included Stażewski in
1397:
1333:XXXIII Venice Biennale
1328:
1305:
1290:
1240:Maja and Reuben Fawkes
1183:
1102:Buffalo AKG Art Museum
929:Polish Socialist Party
889:
759:Machine Age Exposition
698:
628:(1926–1929) and later
608:
564:). Active until 1926,
518:
5107:Włodzimierz Borodziej
5014:Stanisław Mossakowski
4484:Petar Miljković-Pepek
4237:Jan Józef Szczepański
4093:Magdalena Abakanowicz
3928:Stylianos Pelekanidis
3877:Stylianos Harkianakis
3815:Kazimierz Michałowski
3681:Constantin Daicoviciu
3362:Muzeum Sztuki w Łodzi
3197:Magdalena Abakanowicz
1694:Na scalonych ziemiach
1618:Kröller-Müller Museum
1578:Muzeum Sztuki in Łódź
1575:
1507:Magdalena Abakanowicz
1438:Albright-Knox Gallery
1311:
1296:
1277:
1173:
1098:White on White No. 25
925:Polish Workers' Party
876:
814:Muzeum Sztuki in Łódź
527:Władysław Strzemiński
509:
484:Exhibition of New Art
291:Władysław Strzemiński
210:geometric abstraction
109:geometric abstraction
5183:Constructivism (art)
5173:Polish male painters
4813:Andrei Corbea-Hoișie
4675:Andrzej Szczypiorski
4542:Maja Bošković-Stulli
4289:Konstantinos Dimaras
4041:Krzysztof Penderecki
2360:Mikina, Ewa (2003).
1586:Museum of Modern Art
1552:and installed as an
1440:in Buffalo, and the
1422:Dallas Museum of Art
1304:(private collection)
1249:Sidney Janis Gallery
1196:Museum of Modern Art
1180:Museum of Modern Art
1022:Reliefs (1956–1970s)
953:Stalinist propaganda
921:Unification Congress
852:(1943) and later in
805:Abstraction-Création
791:Textural Composition
787:Kompozycja Fakturowa
733:Textural Composition
729:Kompozycja fakturowa
675:Hotel Polonia Palace
346:, Edward Krasiński,
279:Abstraction-Création
5112:Nicos Hadjinicolaou
5065:Romualdas Požerskis
5029:Ana Maria Zahariade
4844:Svetlana Alexievich
4715:Michael G. Meraklis
4505:Aris Konstantinidis
4448:Mieczysław Porębski
4407:Vladimir Veličković
4392:Roman Brandstaetter
4325:Růžena Grebeníčková
4206:Elida Maria Szarota
4144:Manousos Manousakas
4087:Yiannis Spyropoulos
3969:Pandelis Prevelakis
3959:Maria Ana Musicescu
3778:Yiannis Papaioannou
3701:Anastasios Orlandos
3471:Turowski, Andrzej.
3458:Piotrowski, Piotr.
2363:"Stażewski, Henryk"
1474:Galerie Denise René
1413:where he showcased
1361:Christian Boltanski
1149:Stanisław Zamecznik
1016:Gold Cross of Merit
802:and in 1931 joined
785:(c. 1929–1930) and
451:and argued against
439:group that drew on
365:Early life and work
336:Christian Boltanski
5117:Gabriela Kiliánová
5096:Eimuntas Nekrošius
4993:Lech Trzeciakowski
4927:Yurii Andrukhovych
4772:Tasos Athanasiadis
4725:Wisława Szymborska
4694:Zigmas Zinkevičius
4689:Takis Varvitsiotis
4634:Răzvan Theodorescu
4578:Manolis Andronikos
4515:Virginia Paskaleva
4196:Vjenceslav Richter
4191:Dimitrios Loukatos
4016:Nikolaos Andriotis
4010:Kazimierz Wejchert
3954:Stanislav Libenský
3872:Veselin Beshevliev
3660:Spyridon Marinatos
3655:Witold Lutosławski
3624:Aleksander Kobzdej
3578:Manolis Hatzidakis
3478:Kowalska, Bozena.
3445:Mansbach, Steven.
3356:Suchan, Jarosław.
3303:The New York Times
3275:www.artmagazine.cc
3226:The New York Times
1991:"Henryk Stażewski"
1776:The New York Times
1628:in Paris, and the
1582:
1398:Instytut Awangardy
1329:
1306:
1291:
1184:
1174:Kazimir Malevich,
1141:Kordegarda Gallery
1044:Alina Szapocznikow
1028:Klub Krzywego Koła
890:
842:invasion of Poland
840:. During Hitler's
706:), oil on canvas (
519:
510:The front page of
472:Mieczysław Szczuka
464:Formist Exhibition
243:Constructivist art
239:artist collectives
5135:
5134:
5035:Theodore Antoniou
4874:Ferdinand Milučký
4777:Bogdan Bogdanović
4720:Mindaugas Navakas
4629:Jerzy Tchórzewski
4557:Yorgos Sicilianos
4500:Bronisław Geremek
4469:Jerzy Buszkiewicz
4428:Christos Kapralos
4304:Constantin Lucaci
4232:Aleksandar Nichev
4227:Sona Kovacevicová
4222:Vojislav J. Đurić
4154:Alexandru Rosetti
3846:Branko Maksimović
3820:Mihail Sokolovski
3711:Pancho Vladigerov
3675:Svetozar Radojčić
3650:Vladimír Kompánek
3603:Hristo Vakarelski
3562:Stanisław Lorentz
3552:Oto Bihalji-Merin
3449:(Cambridge, 1999)
3342:978-83-232-3839-3
3206:978-1-84976-673-9
3156:978-963-416-142-4
3147:10.24389/handbook
3100:978-83-66696-44-0
3075:978-83-66696-37-2
2943:978-963-386-083-0
2883:20.500.12153/1663
2846:978-0-50-077535-6
2777:978-90-485-1670-4
2570:978-0-578-99560-1
2540:978-88-572-3735-0
2504:978-84-8026-550-8
2454:978-0-52-023125-2
2429:978-0-19-925340-1
2321:978-88-572-3735-0
2195:978-88-572-3735-0
2137:978-0-578-99560-1
2064:978-94-6166-254-5
2032:978-90-04-50555-1
1818:978-83-66696-43-3
1753:978-1-86189-863-0
1534:Theo van Doesburg
1040:Jerzy Nowosielski
1032:Nikita Khrushchev
987:organized at the
965:Socialist Realism
763:Theo van Doesburg
757:and the New York
457:Wystawa Formistów
422:Impressionist art
376:Kingdom of Poland
312:Socialist Realism
267:Theo van Doesburg
237:, three interwar
156:
155:
69:Kingdom of Poland
16:(Redirected from
5195:
5178:Abstract artists
5040:Michał Głowiński
4983:Nedjeljko Fabrio
4905:Karolos Mitsakis
4869:Dževad Karahasan
4833:Dorota Simonides
4746:Konstantin Iliev
4670:Ștefan Niculescu
4593:Stefan Kaszynski
4525:András Vizkelety
4520:Adriena Šimotová
4402:József Ujfalussy
4335:Demetrios Pallas
4309:Krasimir Manchev
4273:Stefana Stoykova
4263:Gunther Schuller
4186:Stefka Georgieva
4149:Vera Mutafchieva
4067:Kazimierz Dejmek
4026:Emmanuel Kriaras
4000:Nichita Stănescu
3995:Dezső Keresztury
3990:Ioannis Kakridis
3974:Stanojlo Rajičić
3908:Władysław Czerny
3887:Zbigniew Herbert
3866:Virgil Vătășianu
3861:Henryk Stażewski
3737:Marijan Matković
3529:
3522:
3515:
3506:
3499:Henryk Stażewski
3493:Henryk Stażewski
3480:Henryk Stażewski
3427:
3426:
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2616:
2608:
2602:
2601:
2599:
2597:
2581:
2575:
2574:
2556:
2545:
2544:
2531:Henryk Stażewski
2526:
2509:
2508:
2490:
2484:
2483:
2465:
2459:
2458:
2440:
2434:
2433:
2415:
2409:
2408:
2396:
2387:
2386:
2384:
2382:
2368:Grove Art Online
2365:
2357:
2351:
2350:
2348:
2346:
2332:
2326:
2325:
2307:
2298:
2297:
2261:
2255:
2254:
2248:
2240:
2230:
2206:
2200:
2199:
2186:Henryk Stażewski
2181:
2168:
2167:
2165:
2163:
2148:
2142:
2141:
2123:
2114:
2113:
2092:Grove Art Online
2088:"Constructivism"
2083:
2077:
2076:
2048:
2037:
2036:
2018:
2007:
2006:
2004:
2002:
1986:
1971:
1970:
1950:
1919:
1918:
1908:
1900:
1887:
1886:
1862:
1856:
1855:
1849:
1847:
1832:
1826:
1825:
1804:
1798:
1797:
1792:
1790:
1767:
1758:
1757:
1739:
1719:
1711:
1705:
1690:
1684:
1683:, pp. 25–37
1673:
1604:in Los Angeles,
1600:in Chicago, the
1512:In 1976, critic
1400:
1216:Galerie Chalette
1161:
1153:Andrzej Turowski
1128:
1113:
1094:
1052:Stefan Gierowski
1004:
725:
712:
711: 1929–1930
709:
701:
694:
667:Kazimir Malevich
648:furniture design
606:
581:furniture design
352:communist period
348:Annette Messager
255:Kazimir Malevich
198:
197:
194:
193:
190:
187:
184:
181:
178:
175:
172:
169:
159:Henryk Stażewski
82:
63:
61:
46:
36:Henryk Stażewski
32:
21:
18:Henryk Stazewski
5203:
5202:
5198:
5197:
5196:
5194:
5193:
5192:
5138:
5137:
5136:
5131:
5127:Vojteh Ravnikar
5024:Ludvík Václavek
4973:Péter Esterházy
4952:Andrej Mitrović
4914:
4890:Nikola Georgiev
4818:Eliška Fučíková
4792:Lech Kalinowski
4766:Marian Zgórniak
4665:Dževad Juzbašić
4639:Elena Várossová
4619:Petro Kononenko
4588:Blaga Dimitrova
4572:Stoimen Stoilov
4529:
4510:Dejan Medaković
4479:Nikolai Genchev
4453:Edvard Ravnikar
4443:Donka Petkanova
4417:Gheorghe Vrabie
4366:Boris Gaberščik
4345:Simeon Pironkov
4314:Krzysztof Meyer
4176:Emil Condurachi
4163:
3985:Marin Goleminov
3949:Hristo M. Danov
3892:Eugen Jebeleanu
3856:Jaroslav Pešina
3836:Dragotin Cvetko
3830:Bence Szabolcsi
3787:
3768:Milovan Gavazzi
3753:Jan Białostocki
3742:Ksawery Piwocki
3722:Albín Brunovský
3691:Miroslav Krleža
3639:Dimiter Statkov
3614:Dezső Dercsényi
3539:
3533:
3489:
3475:(Wrocław, 1981)
3436:
3434:Further reading
3431:
3430:
3420:
3418:
3409:
3408:
3404:
3394:
3392:
3382:
3381:
3377:
3367:
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2084:
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2050:
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2033:
2020:
2019:
2010:
2000:
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1988:
1987:
1974:
1967:
1952:
1951:
1922:
1902:
1901:
1890:
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1863:
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1834:
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1805:
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1761:
1754:
1741:
1740:
1733:
1728:
1723:
1722:
1712:
1708:
1702:Ładnowska 1994a
1691:
1687:
1674:
1670:
1665:
1637:Neoplastic Room
1626:Centre Pompidou
1590:Brooklyn Museum
1570:
1502:
1470:Centre Pompidou
1407:
1369:Lawrence Weiner
1365:Anette Messager
1272:
1200:Wojciech Fangor
1155:
1135:
1129:
1120:
1114:
1105:
1095:
1034:delivered his "
1024:
998:
933:satellite state
917:Bolesław Bierut
871:
866:
864:Post-war career
846:Nazi occupation
830:Kurt Schwitters
799:Cercle et Carré
744:
743:
742:
741:
740:
726:
718:
717:
710:
695:
684:
644:interior design
607:
600:
551:Katarzyna Kobro
504:
399:Stanisław Lentz
372:
367:
295:Katarzyna Kobro
214:interwar period
166:
162:
152:
90:
84:
80:
71:
65:
59:
57:
49:
37:
28:
23:
22:
15:
12:
11:
5:
5201:
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5191:
5190:
5185:
5180:
5175:
5170:
5165:
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5155:
5150:
5140:
5139:
5133:
5132:
5130:
5129:
5124:
5119:
5114:
5109:
5103:
5101:Krešimir Nemec
5098:
5093:
5088:
5083:
5078:
5073:
5067:
5062:
5057:
5052:
5047:
5042:
5037:
5031:
5026:
5021:
5016:
5011:
5009:Károly Manherz
5006:
5001:
4999:Vasil Gyuzelev
4995:
4990:
4985:
4980:
4978:Radost Ivanova
4975:
4970:
4965:
4959:
4954:
4949:
4947:Marek Kopelent
4944:
4939:
4937:János Böhönyey
4934:
4929:
4922:
4920:
4916:
4915:
4913:
4912:
4907:
4902:
4897:
4892:
4887:
4882:
4876:
4871:
4866:
4864:Henryk Górecki
4861:
4856:
4854:Mircea Dinescu
4851:
4846:
4840:
4838:Elena Toncheva
4835:
4830:
4825:
4820:
4815:
4810:
4804:
4799:
4794:
4789:
4784:
4779:
4774:
4768:
4763:
4758:
4753:
4748:
4743:
4738:
4732:
4727:
4722:
4717:
4712:
4707:
4702:
4700:Sándor Kányádi
4696:
4691:
4686:
4677:
4672:
4667:
4662:
4660:István Borzsák
4656:
4651:
4649:Dionysis Zivas
4646:
4641:
4636:
4631:
4626:
4621:
4616:
4610:
4605:
4600:
4595:
4590:
4585:
4580:
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4569:
4564:
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4537:
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4522:
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4512:
4507:
4502:
4497:
4491:
4486:
4481:
4476:
4471:
4466:
4461:
4455:
4450:
4445:
4440:
4438:György Györffy
4435:
4430:
4425:
4419:
4414:
4412:Velizar Velkov
4409:
4404:
4399:
4394:
4388:
4383:
4378:
4373:
4368:
4363:
4358:
4352:
4347:
4342:
4340:Károly Perczel
4337:
4332:
4327:
4322:
4316:
4311:
4306:
4301:
4296:
4291:
4286:
4280:
4278:C. A. Trypanis
4275:
4270:
4265:
4260:
4258:Jozef Jankovič
4255:
4250:
4244:
4239:
4234:
4229:
4224:
4219:
4214:
4208:
4203:
4198:
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4161:
4156:
4151:
4146:
4141:
4136:
4131:
4125:
4120:
4115:
4110:
4105:
4103:Zdenko Kolacio
4100:
4095:
4089:
4084:
4079:
4074:
4072:Stoyan Dzudzev
4069:
4064:
4062:Đurđe Bošković
4059:
4053:
4048:
4046:Anastas Petrov
4043:
4038:
4033:
4028:
4023:
4018:
4012:
4007:
4002:
3997:
3992:
3987:
3982:
3976:
3971:
3966:
3964:Gábor Preisich
3961:
3956:
3951:
3946:
3940:
3935:
3930:
3925:
3920:
3915:
3910:
3904:
3899:
3894:
3889:
3884:
3882:János Harmatta
3879:
3874:
3868:
3863:
3858:
3853:
3848:
3843:
3841:Atanas Dalchev
3838:
3832:
3827:
3825:Zaharia Stancu
3822:
3817:
3812:
3810:Georgios Megas
3807:
3802:
3795:
3793:
3789:
3788:
3786:
3785:
3780:
3775:
3770:
3765:
3760:
3755:
3749:
3744:
3739:
3734:
3729:
3727:Bohuslav Fuchs
3724:
3719:
3713:
3708:
3703:
3698:
3693:
3688:
3686:Roman Ingarden
3683:
3677:
3672:
3667:
3662:
3657:
3652:
3647:
3641:
3636:
3631:
3626:
3621:
3616:
3611:
3605:
3600:
3595:
3590:
3585:
3583:Emanuel Hruška
3580:
3575:
3569:
3564:
3559:
3554:
3547:
3545:
3541:
3540:
3534:
3532:
3531:
3524:
3517:
3509:
3503:
3502:
3496:
3488:
3487:External links
3485:
3484:
3483:
3482:(Warsaw, 1985)
3476:
3469:
3463:
3462:(London, 2009)
3456:
3450:
3443:
3435:
3432:
3429:
3428:
3402:
3375:
3348:
3341:
3323:
3287:
3261:
3239:
3212:
3205:
3187:
3181:978-9633860830
3180:
3162:
3155:
3129:
3106:
3099:
3081:
3074:
3051:
3044:
3026:
3001:
2975:
2968:
2949:
2942:
2920:
2905:
2852:
2845:
2827:
2814:10.1086/725119
2783:
2776:
2758:
2751:
2730:
2715:
2709:978-3037640944
2708:
2690:
2657:
2632:
2603:
2576:
2569:
2546:
2539:
2510:
2503:
2485:
2478:
2460:
2453:
2435:
2428:
2410:
2388:
2352:
2327:
2320:
2299:
2272:(3): 489–515.
2256:
2201:
2194:
2169:
2143:
2136:
2115:
2108:
2078:
2063:
2038:
2031:
2008:
1972:
1965:
1920:
1888:
1877:(3): 121–143.
1857:
1827:
1817:
1799:
1759:
1752:
1730:
1729:
1727:
1724:
1721:
1720:
1706:
1685:
1667:
1666:
1664:
1661:
1612:in Rotterdam,
1569:
1566:
1558:Colored Relief
1501:
1498:
1489:in June 1982.
1406:
1403:
1337:Foksal Gallery
1271:
1270:Foksal Gallery
1268:
1251:in New York.
1221:Johannes Itten
1210:Also in 1961,
1204:Tadeusz Kantor
1147:and architect
1137:
1136:
1130:
1123:
1121:
1115:
1108:
1106:
1096:
1089:
1071:Masonite board
1023:
1020:
870:
867:
865:
862:
775:Albert Gleizes
727:
720:
719:
696:
689:
688:
687:
686:
685:
683:
680:
616:Henryk Berlewi
598:
589:graphic design
523:constructivist
503:
500:
380:Russian Empire
371:
368:
366:
363:
340:Tadeusz Kantor
332:Galeria Foksal
283:Albert Gleizes
206:constructivism
154:
153:
151:
150:
144:
141:Cross of Merit
137:
135:
131:
130:
116:
112:
111:
106:
102:
101:
96:
92:
91:
85:
83:(aged 94)
77:
73:
72:
66:
64:9 January 1894
55:
51:
50:
47:
39:
38:
35:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5200:
5189:
5186:
5184:
5181:
5179:
5176:
5174:
5171:
5169:
5166:
5164:
5161:
5159:
5156:
5154:
5151:
5149:
5146:
5145:
5143:
5128:
5125:
5123:
5122:Ene Mihkelson
5120:
5118:
5115:
5113:
5110:
5108:
5104:
5102:
5099:
5097:
5094:
5092:
5089:
5087:
5084:
5082:
5079:
5077:
5074:
5072:
5068:
5066:
5063:
5061:
5058:
5056:
5053:
5051:
5050:Fatos Lubonja
5048:
5046:
5043:
5041:
5038:
5036:
5032:
5030:
5027:
5025:
5022:
5020:
5017:
5015:
5012:
5010:
5007:
5005:
5002:
5000:
4996:
4994:
4991:
4989:
4986:
4984:
4981:
4979:
4976:
4974:
4971:
4969:
4968:Māris Čaklais
4966:
4964:
4960:
4958:
4955:
4953:
4950:
4948:
4945:
4943:
4942:Maria Kłańska
4940:
4938:
4935:
4933:
4930:
4928:
4924:
4923:
4921:
4917:
4911:
4908:
4906:
4903:
4901:
4900:Milan Kundera
4898:
4896:
4893:
4891:
4888:
4886:
4883:
4881:
4877:
4875:
4872:
4870:
4867:
4865:
4862:
4860:
4857:
4855:
4852:
4850:
4847:
4845:
4841:
4839:
4836:
4834:
4831:
4829:
4826:
4824:
4823:Ismail Kadare
4821:
4819:
4816:
4814:
4811:
4809:
4805:
4803:
4800:
4798:
4795:
4793:
4790:
4788:
4785:
4783:
4782:Oskár Elschek
4780:
4778:
4775:
4773:
4769:
4767:
4764:
4762:
4761:Pēteris Vasks
4759:
4757:
4756:Jože Pogačnik
4754:
4752:
4749:
4747:
4744:
4742:
4741:Karel Hubáček
4739:
4737:
4733:
4731:
4728:
4726:
4723:
4721:
4718:
4716:
4713:
4711:
4710:Milcho Lalkov
4708:
4706:
4703:
4701:
4697:
4695:
4692:
4690:
4687:
4685:
4681:
4678:
4676:
4673:
4671:
4668:
4666:
4663:
4661:
4657:
4655:
4654:Viktor Žmegač
4652:
4650:
4647:
4645:
4642:
4640:
4637:
4635:
4632:
4630:
4627:
4625:
4624:György Kurtág
4622:
4620:
4617:
4615:
4611:
4609:
4606:
4604:
4601:
4599:
4596:
4594:
4591:
4589:
4586:
4584:
4581:
4579:
4575:
4573:
4570:
4568:
4567:Marin Sorescu
4565:
4563:
4560:
4558:
4555:
4553:
4550:
4548:
4547:Gerard Labuda
4545:
4543:
4539:
4538:
4536:
4532:
4526:
4523:
4521:
4518:
4516:
4513:
4511:
4508:
4506:
4503:
4501:
4498:
4496:
4492:
4490:
4487:
4485:
4482:
4480:
4477:
4475:
4474:Václav Frolec
4472:
4470:
4467:
4465:
4462:
4460:
4456:
4454:
4451:
4449:
4446:
4444:
4441:
4439:
4436:
4434:
4431:
4429:
4426:
4424:
4420:
4418:
4415:
4413:
4410:
4408:
4405:
4403:
4400:
4398:
4397:Doula Mouriki
4395:
4393:
4389:
4387:
4384:
4382:
4379:
4377:
4374:
4372:
4371:Konrad Górski
4369:
4367:
4364:
4362:
4361:Tekla Dömötör
4359:
4357:
4353:
4351:
4350:Andrzej Wajda
4348:
4346:
4343:
4341:
4338:
4336:
4333:
4331:
4330:Adrian Marino
4328:
4326:
4323:
4321:
4317:
4315:
4312:
4310:
4307:
4305:
4302:
4300:
4299:György Konrád
4297:
4295:
4294:Karel Horálek
4292:
4290:
4287:
4285:
4284:Emilijan Cevc
4281:
4279:
4276:
4274:
4271:
4269:
4266:
4264:
4261:
4259:
4256:
4254:
4251:
4249:
4245:
4243:
4240:
4238:
4235:
4233:
4230:
4228:
4225:
4223:
4220:
4218:
4217:Ana Blandiana
4215:
4213:
4209:
4207:
4204:
4202:
4199:
4197:
4194:
4192:
4189:
4187:
4184:
4182:
4181:Sándor Csoóri
4179:
4177:
4173:
4172:
4170:
4166:
4160:
4157:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4137:
4135:
4132:
4130:
4126:
4124:
4121:
4119:
4116:
4114:
4111:
4109:
4106:
4104:
4101:
4099:
4098:Ferenc Farkas
4096:
4094:
4090:
4088:
4085:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4058:
4054:
4052:
4049:
4047:
4044:
4042:
4039:
4037:
4034:
4032:
4029:
4027:
4024:
4022:
4021:Riko Debenjak
4019:
4017:
4013:
4011:
4008:
4006:
4003:
4001:
3998:
3996:
3993:
3991:
3988:
3986:
3983:
3981:
3977:
3975:
3972:
3970:
3967:
3965:
3962:
3960:
3957:
3955:
3952:
3950:
3947:
3945:
3944:Józef Burszta
3941:
3939:
3936:
3934:
3931:
3929:
3926:
3924:
3921:
3919:
3916:
3914:
3911:
3909:
3905:
3903:
3900:
3898:
3897:Petar Lubarda
3895:
3893:
3890:
3888:
3885:
3883:
3880:
3878:
3875:
3873:
3869:
3867:
3864:
3862:
3859:
3857:
3854:
3852:
3851:Gyula Ortutay
3849:
3847:
3844:
3842:
3839:
3837:
3833:
3831:
3828:
3826:
3823:
3821:
3818:
3816:
3813:
3811:
3808:
3806:
3805:Blaže Koneski
3803:
3801:
3797:
3796:
3794:
3790:
3784:
3781:
3779:
3776:
3774:
3771:
3769:
3766:
3764:
3763:Zoltán Franyó
3761:
3759:
3756:
3754:
3750:
3748:
3745:
3743:
3740:
3738:
3735:
3733:
3730:
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3668:
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3658:
3656:
3653:
3651:
3648:
3646:
3642:
3640:
3637:
3635:
3632:
3630:
3629:Anton Kriesis
3627:
3625:
3622:
3620:
3619:Zlatko Gorjan
3617:
3615:
3612:
3610:
3606:
3604:
3601:
3599:
3596:
3594:
3593:László Németh
3591:
3589:
3588:Zoltán Kodály
3586:
3584:
3581:
3579:
3576:
3574:
3573:Tudor Arghezi
3570:
3568:
3565:
3563:
3560:
3558:
3555:
3553:
3549:
3548:
3546:
3542:
3537:
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3518:
3516:
3511:
3510:
3507:
3500:
3497:
3495:at Culture.pl
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3047:
3045:83-901628-5-7
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2266:Slavic Review
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2047:
2045:
2043:
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2034:
2028:
2024:
2017:
2015:
2013:
2009:
1996:
1992:
1985:
1983:
1981:
1979:
1977:
1973:
1968:
1966:83-901628-5-7
1962:
1958:
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1916:
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1907:
1899:
1897:
1895:
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1889:
1884:
1880:
1876:
1873:(in Polish).
1872:
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1858:
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1703:
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1642:
1641:Muzeum Sztuki
1638:
1633:
1631:
1627:
1623:
1619:
1616:in Budapest,
1615:
1611:
1607:
1603:
1599:
1595:
1592:in New York,
1591:
1587:
1579:
1574:
1567:
1565:
1563:
1559:
1555:
1551:
1546:
1543:
1542:retrospective
1539:
1538:Latin America
1535:
1531:
1530:Neoplasticism
1527:
1523:
1519:
1515:
1514:Hilton Kramer
1510:
1508:
1499:
1497:
1495:
1490:
1488:
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1471:
1468:, as well as
1467:
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1340:
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1334:
1326:
1322:
1318:
1317:acrylic paint
1314:
1310:
1303:
1299:
1295:
1288:
1285:symposium in
1284:
1280:
1276:
1269:
1267:
1265:
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1260:polychromatic
1257:
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1234:
1230:
1226:
1222:
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1189:
1188:White Reliefs
1181:
1177:
1172:
1168:
1166:
1159:
1154:
1150:
1146:
1142:
1133:
1132:Relief nr. 38
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1112:
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1080:
1076:
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1048:Urszula Broll
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776:
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769:of the Dutch
768:
767:Piet Mondrian
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5081:Primož Kuret
5071:Károly Klimó
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5004:Drago Jančar
4932:Janez Bernik
4895:Imre Kertész
4885:Ivan Čolović
4859:István Fried
4787:Ferenc Glatz
4684:Květa Válová
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4423:Roman Berger
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4320:Branko Fučić
4268:Zdenko Škreb
4201:Eugen Suchoň
4139:Kamil Lhoták
4134:Iván Balassa
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3913:Ivan Duichev
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3747:France Stele
3717:Jolán Balogh
3536:Herder Prize
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3228:. p. 16
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1775:
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1677:El Lissitzky
1671:
1649:Relief No. 8
1648:
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1526:concrete art
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1446:Herder Prize
1429:
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1388:Galerie 1–36
1387:
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1380:Daniel Buren
1373:
1357:installation
1349:Allan Kaprow
1341:
1330:
1312:
1297:
1282:
1278:
1253:
1237:
1233:color theory
1225:Josef Albers
1209:
1191:
1187:
1185:
1175:
1164:
1145:scenographer
1138:
1131:
1116:
1097:
1085:in painting.
1056:
1025:
1007:Thaw of 1956
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980:
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940:
937:Soviet Union
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619:
611:
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605:no 8-9, 1924
602:
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571:Inspired by
570:
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554:
543:
520:
511:
491:
483:
479:
475:
463:
460:
456:
453:naturalistic
426:
373:
359:Herder Prize
356:
344:Allan Kaprow
328:Iron Curtain
319:Thaw of 1956
316:
286:
261:, the Dutch
259:El Lissitzky
232:
226:
220:
218:
158:
157:
147:Herder Prize
81:(1988-06-10)
79:10 June 1988
29:
5163:1988 deaths
5158:1894 births
5086:Jiří Kuthan
5076:Hanna Krall
5045:Dušan Kováč
4988:Aurel Stroe
4751:Marin Mincu
4736:Tamás Hofer
4730:Jaan Undusk
4705:Mirko Kovač
4644:Māra Zālīte
4608:Jon Nicodim
4603:Zmaga Kumer
4495:Liviu Calin
4464:Ákos Birkás
4459:Maria Banuș
4356:Georgi Baev
4118:Pavel Trost
4113:András Sütő
4057:Eugen Barbu
3980:Jagoda Buić
3938:Zeno Vancea
3933:Ján Podolák
3923:László Gerő
3918:Ivo Frangeš
3783:Zeko Torbov
3732:Mihail Jora
3706:Lajos Vayer
3696:Ludvík Kunz
3598:Hugo Rokyta
3421:29 December
3364:(in Polish)
3280:31 December
2994:30 December
2808:(1): 4–19.
2650:30 December
2596:30 December
2592:(in Polish)
2381:31 December
2221:: 203–210.
2162:5 September
2001:28 December
1846:26 November
1681:Lodder 2018
1632:in London.
1630:Tate Modern
1608:in Warsaw,
1568:Collections
1496:in Warsaw.
1466:Minneapolis
1363:(1978) and
1212:art dealers
1156: [
1083:illusionism
999: [
973:academicism
858:caricatures
850:Szczekociny
848:, first in
838:commissions
749:sui generis
704:Composition
671:abstraction
663:Suprematist
516:abstraction
437:avant-garde
435:, a Polish
396:illustrator
392:portraitist
354:in Poland.
314:in Poland.
281:collective
251:Suprematist
247:avant-garde
5142:Categories
4797:Jaan Kross
4562:Emil Skála
4242:Imre Varga
4159:Wiktor Zin
4082:Jiří Hrůza
4077:Béla Gunda
4036:Máté Major
3800:Jiří Kolář
3645:Iván Fenyő
3634:Niko Kuret
3609:Ján Cikker
3232:18 October
2625:18 January
2479:8386308257
2405:Culture.pl
2345:16 January
2073:1089449662
1995:Culture.pl
1841:ARTMargins
1522:Las Palmas
1411:Wrocław 70
1384:Galerie 16
1376:conceptual
1353:conceptual
1321:fiberboard
1283:Wrocław 70
1244:expatriate
1067:plexiglass
949:annexation
902:Surrealism
886:Surrealism
810:a.r. group
783:Kompozycja
737:lithograph
699:Kompozycja
631:a.r. group
596:existence.
585:typography
418:landscapes
406:watercolor
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287:a.r. group
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128:a.r. group
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3792:1971–1980
3758:Jan Filip
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3544:1964–1970
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969:socialism
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2866:ARTis ON
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882:Escape
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