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Zofia Stryjenska , Multilingual edition in English and PolishBoszPublishingHouse

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Zofia Stryjenska (Polish and English Edition) Hardcover – December 29, 2020

by Swiatoslaw Lenartowicz (Author)

5.0 6 ratings

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Multilingual edition in English and Polish

Zofia Stryjeńska (1891–1976) is one of the most popular Polish artists of the interwar period. She was mainly occupied with easel painting, but also with graphic design, book illustrations, fabric, poster and toy design. Her works brought her a number of awards. She was the author of the panneaux series inspired by Polish traditions and presenting “The Cultural Year in Poland”, and the series “Young Polish Countryside”, which praised the charms of rural life and youth. The album presents outstanding works by Zofia Stryjeńska characterised by dynamic depictions, colourfulness, or rhythmic and decorative elements. The introduction to the album was written by an expert on Zofia Stryjeńska’s work, Światosław Lenartowicz, and the graphic design was prepared by Prof. Lech Majewski.

Zofia Stryjeńska (1891–1976) należy do grona najpopularniejszych artystów okresu międzywojennego w Polsce. Uprawiała głównie malarstwo sztalugowe, zajmowała się także grafiką, ilustracją książkową, projektowaniem tkanin, plakatów i zabawek. Za swoją twórczość była wielokrotnie nagradzana i wyróżniana. Autorka nawiązującego do polskiej tradycji cyklu panneaux przedstawiającego „Rok obrzędowy w Polsce” oraz cyklu „Młoda wieś polska”, będącego pochwałą urody wiejskiego życia i młodości. Album pokazuje wspaniałą twórczość Zofii Stryjeńskiej z wyróżniającą ją dynamiką ujęć, wielobarwnością, zrytmizowaniem i dekoracyjnością elementów. Autorem wstępu do albumu jest – znawca twórczości Zofii Stryjeńskiej – Światosław Lenartowicz, natomiast za projekt graficzny odpowiada prof. Lech Majewski.

Editorial Reviews

About the Author

Painter, graphic artist, illustrator, set designer and a designer of fabrics, posters and toys; connected with Warsaw and Zakopane. Born in 1891 and died in 1976, Zofia Stryjeńska was amongst the most colorful figures of artistic life in interwar Poland. She began painting in Kraków under the supervision of L. Stroynowski and continued her education in 1909 at the Maria Niedzielska School of Fine Arts for Women in Kraków. In 1911, she enrolled at the Academy of Fine Arts in Munich as a man, since at that time the school did not accept women as students. In 1916, Zofia Lubańska married Karol Stryjeński, an architect and educator with whom she lived in Zakopane between1921 and1927. In 1918, she joined the Kraków Workshops as a toy and graphic portfolio designer. Between 1917 and 1918 she created Pascha (Passover) a series of five tempera paintings, which combined elements of Polish folklore with religious iconographic motifs. She published two portfolios of colour lithographs entitled Bożki Słowiańskie (The Slavic Idols, 1918, 1922) in which she revived and transformed archaic Slavic mythology. Stryjeńska cultivated decorative painting that corresponded well with architecture. Her most important works in this field include: frescoes in the Museum of Science and Industry in Kraków (1917), polychromes for several historical houses in Warsaw's Old Townas well as a tower in The Wawel Royal Castle (1917) and interior decorations of the Fukier winery in Warsaw. Zofia Stryjeńska’s monumental compositions include the Łowy Bogów series (God Hunt,1921), Poranek (Morning), Wieczór (Evening) and Koncert Beriota (Beriot’s Concert,1923). Zofia Stryjeńska was amongst the most colourful figures of artistic life in interwar Poland. She began painting in Kraków under the supervision of L. Stroynowski and continued her education in 1909 at the Maria Niedzielska School of Fine Arts for Women in Kraków. In 1911, she enrolled at the Academy of Fine Arts in Munich as a man, since at that time the school did not accept women as students. In 1916, Zofia Lubańska married Karol Stryjeński, an architect and educator with whom she lived in Zakopane between1921 and1927. In 1918, she joined the Kraków Workshops as a toy and graphic portfolio designer. Between 1917 and 1918 she created Pascha (Passover) a series of five tempera paintings, which combined elements of Polish folklore with religious iconographic motifs. She published two portfolios of colour lithographs entitled Bożki Słowiańskie (The Slavic Idols, 1918, 1922) in which she revived and transformed archaic Slavic mythology. Stryjeńska cultivated decorative painting that corresponded well with architecture. In the mid-1920s the artist settled in Warsaw – the cultural hub of Poland in the interwar period. During this time – taking part actively in the Polish capital's artistic, literary, and theatrical life – Stryjeńska became the symbol of an era, appealing first and foremost to the tastes of the intelligentsia of her day.