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Andrzej WRÓBLEWSKI (1927-1957), Landscape / Signs and Signals, 1955 - double-sided work

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Lot description
Estimations: 102 878 - 128 598 EUR
Additional fees: +5% / 3% Droit de suite
gouache, paper; 28 x 41 cm (light frame);
Signed p. d.: A.Wróblewski (in pencil, by the artist's mother, Krystyna);
Inscribed p. g.: [number illegible, damaged corner of work], l. d.: Landscape (in pencil), 100 (in red pen);
On the reverse of the painting: Signs and Signals (gouache).
Exhibited and reproduced:
- Andrzej Wróblewski. Catalog of an exhibition on the 10th anniversary of his death, exhibition catalog of the National Museum in Poznan, Poznan 1967, cat. no. 180, p. 48;
- A. Michalak, Andrzej Wróblewski, consulted by A. Król Toruń 2003, il. face p. 79, il. reverse p. 76;
- A. Michalak, Contribution to the discussion - how to create a regional collection "Signs of the times"?, Torun 2006, il. p. 12, 17; (Signs and Signals);
- Andrzej Wróblewski, exhibition catalog of the National Museum in Warsaw, ed. J. Kordjak-Piotrowska, Warsaw 2007, il. 5, s. 62;
- Andrzej Wróblewski. Recto / Verso, Museum of Modern Art, Warsaw and Museo Reina Sofia, Madrid, 2015;
- Andrzej Wróblewski, D. A. Libra, Warsaw 2019, pp. 5-7;
- Polish Art. From the Collection of Collector Antoni Michalak, ed. by A. Michalak, A. Kroplewska-Gajewska, J. Hejenkowski, [Inowrocław] 2019, p. 25.
Andrzej Wróblewski's path towards modern painting began in Cracow, during his studies. Professors at the Academy of Fine Arts there were advocates of the classical art form, and they took the painting of Paul Cézanne as their model. Their inclinations and references to the pre-war tradition of colorism seduced the young students. They demanded a revolution to match the anticipated social changes. The experience of World War II, not only left its mark, but at the same time was a watershed event, after which a metamorphosis was expected - the arrival of modernity, freedom, a new world order. A manifestation of this call of freedom was the exhibition of Modern Art, organized in the Palace of Art in Cracow, in 1948. At the same time it was an announcement of rebellion against academic traditions. Unfortunately, this call and the hope for the arrival of the new were quickly extinguished by the announcement of the doctrine of Socialist Realism. Nevertheless, in spite of the many difficulties associated with the mundanity of life and the lack of availability of paints, sub-images, the young did not give up. It was at this time that the Cracow Group was initially formed informally. At that time, artists, poets and writers regularly met in cafes and their own studios to discuss and help each other with revisions of paintings, talk about formal solutions, news from the art world, including the West. These were such artists as Jonasz Stern, Maria Jarema, Kazimierz Mikulski, Alfred Lenica - one could say mentors of the youth, whose ranks included, for example, Jerzy Nowosielski, Tadeusz Kantor, Jerzy Tchórzewski, Jan Tarasin or just Andrzej Wróblewski. These artists did not give up, and although until 1956 they often created "in the drawer" or tried to reconcile other formal solutions with socialist realism, they continuously followed the path of modern painting. It manifested itself in various tendencies often referring to French surrealism, sometimes abstraction, or gestural painting.
In all this artistic "hustle and bustle" there were two very strong and outstanding individuals Tadeusz Kantor and Andrzej Wróblewski, whose creative paths soon separated. The formation of Andrzej Wróblewski's artistic style began already during his studies around 1948, when, according to Andrzej Wajda's account, the young Wróblewski disappeared from the university for several months. As it turned out - in order to paint his first painting in the "Shooting" series. Also in 1948, the painter initiated the formation of a Self-education Group at the Krakow academy, attached to the Union of Polish Academic Youth, which included, in addition to Wajda, Przemyslaw Brykalski and Andrzej Strumillo. The group openly promoted an attitude of opposition to the art promoted at the Krakow academy.
Andrzej Wróblewski, like Rafał Malczewski, was also a lover of the Tatra Mountains. Mountain landscape framed in geometrized, abstract form is also present in his paintings. Landscape framed in abstract form fascinated the painter, about which he wrote: "to paint a landscape, or people, or a city - is not enough. After all, it is necessary to show how big the universe is, to paint man as he is known to modern biologists, an object we know to be more emptiness than matter." [The Edge of the World. On the mountain-abstractions of Andrzej Wróblewski in: The Tatras. Wróblewski, Karłowicz, Wyczółkowski, ed. Anna Król, Magdalena Ziółkowska, Wojciech Grzybała, Kraków 2023] On the other hand, he mentions the role of painting, especially abstract art: "A painting (...) can express the abstract revolution. But not only that. It can, for the willing, hide in abstraction so many treasures of form and color that the effort to stifle one's own laughter and companions, and the effort of a few minutes of concentration, will pay off handsomely. (...) Abstraction will not only show the revolutionary the climate of his soul and give him pure aesthetic emotion; it will strengthen him with its internal logic, with its teasing contrasts it will stimulate him, with its obviousness, the clarity of its construction - it will inspire him with faith in himself and the future!" [Literary Journal, No. 22 (1948), p. 4].
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Date
22 January 2025 CET/Warsaw
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102 878 - 128 598 EUR
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