Zofia Stryjeńska 1891 - 1976 exhibition catalog [very rare item!]

Zofia Stryjeńska 1891-1976, richly illustrated catalog, Exhibition at the National Museum in Cracow, October 2008-January 2009, [catalog: Sviatoslav Lenartovich; translated from French by Sylwia Gruszka; translated into English by Robert Gałązka], n . 800 copies, p. 445, f. 24.5 x 32 cm. Condition b. good, publisher's binding, cloth with gilt. On the cover Zofia Stryjeńska, Perkun, from the series Slavic Idols. The catalog contains reproductions that have been identified. A very rare item!

The catalog includes:

Statements about the artist by, among others, Maria Gronska, Monika Chudzikowska, Barbara Stryjeńska, Wanda Stryjeńska, Lukasz Stryjeński,

Album,

On works of art by Sviatoslav Lenartovich, Magdalena Laskowska, Anna Manicka, among others,

Catalog: list of abbreviations, about the catalog, painting, drawing, graphic arts, theater, varia, more important works not preserved,

Calendar,

Exhibitions,

Bibliography and archives

From this painterly best period of her work comes the series "Seven Sacraments" painted in 1922. Since then it was owned by the artist's family. It was only when these works were awarded a silver medal at the Padua Exhibition of Religious Art in 1931 that they became famous. The series was later exhibited many times and became, next to "Pascha" (1917 - 1918, National Museum in Warsaw), the artist's most famous religious series. The fate of the series after World War II is unknown. However, individual paintings began to appear on the antiquarian market. The National Museum in Cracow managed to purchase for its collection three compositions depicting "Baptism," "Confession" and "Wiatyk," or final anointing. The other paintings presented in this gallery date from the 1930s and are very good examples of the artist's paintings from that time. The painting "Angels at the Piast" is one of Stryjeńska's largest compositions created on paper in those years. It was purchased for the Museum's collection as Stryjeńska's first work.

Compared to the paintings of the 1920s, these paintings show a certain schematicism and less precision in rendering details and nuances of lighting than the one Stryjeńska rendered in the previous decade.