Wladyslaw Jackiewicz, COMPOSITION II A, 1964

150,0 x 109,5 cm - oil, canvas signed on the reverse on canvas l.g.: WŁADYSŁAW JACKIEWICZ

On the reverse signed on the loom g.: KOMPOZYCJA II A, next to a BHZ Desa sticker from an exhibition at the Washington Gallery of Art, therein midr.g. in the artist's hand: 150 x 110, below is a sticker from a doctor's patch with the number: D728/64 Komp II. MBBB [in circle:] EBB.



♣ to the price auctioned, 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)

Władysław Jackiewicz (Podbrodzie in Vilnius region 17 II 1924, Gdańsk 30 III 2016) studied at the Faculty of Painting at the State Higher School of Fine Arts in Gdańsk (based in Sopot). He received his diploma in the atelier of Prof. Artur Nacht-Samborski in 1952. From 1959 to 1981 he worked at his alma mater, passing through all levels of his academic career from assistant to professor. In 1969-1981 he was rector. He was a member and activist of ZPAP and, after its dissolution, of the Association of Polish Painters and Graphic Artists, in which he served as president in 1985-1989. He was a member of the National Council of Culture from 1986 to 1990, and received many national awards and decorations. He had dozens of individual exhibitions at home and abroad, and participated in numerous group exhibitions, including the Exhibition of Young Visual Arts at the Arsenal, Warsaw 1955, successive editions of the National Exhibition of Young Painting, Sculpture and Graphics in Sopot in 1957, 1958, 1959, the Fourth Symposium of the Golden Grape in Zielona Gora 1969 (Grand Prix), the XLIII Art Biennale in Venice 1988. In the 1950s he practiced painting rooted in the colorist tradition. Since 1973, he created one painting series entitled. "The Body," developing in it the theme of the nude in countless ways. He framed the shapes of figures so that the torso alone, usually devoid of anatomical details, remained in the field of composition. He painted lightened, synthetic silhouettes, using the effect of the color ground shining through a thin layer of lasering.