Tadeusz Gronowski, AKT, late 1950s.

100.0 x 56.5cm - oil, plywood signed p.d.: gronowski

In his paintings of the late 1950s, Gronowski referred to the aesthetics of Cubism; he limited the color scale to gray-brown tones and boldly synthesized forms. (...). In Gronowski's figurative paintings, a frequent motif was the female nude, geometrized, with manneristically elongated proportions and soft modeling, or completely flattened and schematic. The artist placed figures on an abstract background formed by geometric figures or rhythmic arrangements of planes.

https://culture.pl/pl/tworca/tadeusz-lucjan-gronowski

♣ to the auctioned price, in addition to other costs, will be added a fee resulting from the right of the artist and his heirs to receive remuneration in accordance with the Law of February 4, 1994 - on Copyright and Related Rights (droit de suite)

Tadeusz Lucjan Gronowski (1894- 1990) - graphic artist, painter, illustrator, designer of advertisements, posters and postage stamps, stage designer, interior designer active in Warsaw and Paris. In 1917-25 he studied at the Faculty of Architecture at the Warsaw Polytechnic under Edmund Bartlomiejczyk and Edward Wittig, among others. He studied painting techniques at the École Supérieur des Beaux-Arts in Paris. In Paris, he established friendly contacts with Moses Kisling and Roman Kramsztyk. As a graphic designer, he collaborated with the magazines "Pro Arte et Studio" (from 1916), "Skamander" (from 1920) and "Życie Literackie" (from 1924); he did illustrations for the luxury magazines "Pani", "Reklama", "Teatr i Życie Wytworne" and "Arkady". In addition, he decorated books for such publishing houses as Ignis, Towarzystwo Wydawnicze Rój, Nasza Księgarnia, Biblioteka Groszowa and Biblioteka Polska. He was widely known as a designer of advertisements for many companies including Wedel, Orbis, Hersego and Schicht. The LOT Polish Airlines logo, used from 1929 to the present day, is the work of Gronowski. The artist was also involved in designing postage stamps. In 1923, he joined the Rhythm Association of Polish Artists. In 1928 he participated in decorating the tenements of the Old Town Square in Warsaw with polychrome. In 1918-39, he was an art manager at Wierzbicki's Graphic Works, and in 1930-35 at Kozinski Brothers' Graphic Works; he was also associated with Władysław Główczewski's Artistic Lithography Works. Together with A. Borman, J. Gelbard and J. Mucharski, he opened the graphic and advertising atelier Plakat. In 1933, he became a co-founder of the Circle of Advertising Graphic Artists. He was also a member of the Association of Polish Graphic Artists and co-edited "Grafika" magazine published by the association.

He participated in many exhibitions at home and abroad, winning, among others, the Grand Prix at the International Exhibition of Decorative Arts in Paris in 1925. In 1929 he was awarded a gold medal for his participation in the architectural and decorative setting of the General National Exhibition in Poznań. In 1935, he received the Commendation of Leopold II for his design of the Polish pavilion at the International Exhibition of Contemporary Art in Brussels. In 1937, he won a gold medal for costume and decoration designs and a silver medal for posters at the International Art and Technology Exhibition in Paris. In 1939, a gold medal was awarded for his design of the Polish pavilion at the World Exhibition in New York.

In his paintings of the late 1950s, Gronowski referred to the aesthetics of Cubism; he limited the color scale to gray-brown tones and boldly synthesized forms. In a series of paintings made in the late 1960s with tempera on paper, he combined his youthful explorations as a painter with his experiences as a poster artist, creating abstract, geometric compositions. He gave them a dynamic layout and varied texture achieved through the changing rhythm of parallel lines; he accentuated the relationship between foreground figures and background, highlighting the play between meandering lines and the configuration of color patches. A frequent motif in Gronowski's figurative paintings was the female nude, either geometrized, with manneristically elongated proportions and soft modeling, or completely flattened and schematic. The artist placed figures on an abstract background formed by geometric figures or rhythmic arrangements of planes.

Source: https://culture.pl/pl/tworca/tadeusz-lucjan-gronowski