Dimensions: 81 x 100 cm
Signed and dated l.d.: 'Tadé | Makowski 29.'
other titles: Half-Bed, Fat Thursday
signed on the reverse l.g.: 'Tadé | MA | KOW | SK | I.' and dated and inscribed p.g.: 'La | Mi-Carême. | 1929 | Paris', on the frame a transport sticker
Origins
private collection, Paris
collection of Zbigniew Michał Legutko and E. Brunswick, New Jersey
Ewa and Wojciech Fibak collection (since 1979)
private collection, Switzerland
Exhibited
Polish Paris, École de Paris. Collection of Wojciech Fibak. Exhibition of paintings by Polish and Polish-Jewish artists of the 19th and 20th centuries associated with Paris. From Piotr Michałowski to Jan Lebenstein, National Museum in Szczecin, December 1999 - March 2000.
Polish Paris. From Michałowski to Lebenstein. Polish Paintings from the Collection of Wojciech Fibak, Museum of the History of the City of Lodz, 1999.
Polish Paris. From Michałowski to Lebenstein. Polish Painting from the Collection of Wojciech Fibak, Historical Museum in Wroclaw, October 30-December 31, 1998
Polish Paris. From Michałowski to Lebenstein. Polish Painting from the Collection of Wojciech Fibak, State Art Gallery in Sopot, July 8-October 4, 1998
Polish Painting in the Collection of Ewa and Wojciech Fibak, National Museum in Warsaw, May 23-August 9, 1992; National Museum in Poznan, August 22-October 25, 1992
Literature
Tomasz Barański, I have always been drawn to Paris. A conversation with Wojciech Fibak, "Angora" September 18, 2022 (mentioned)
Polish Paris, École de Paris. Wojciech Fibak Collection. Exhibition of paintings by Polish and Polish-Jewish artists of the 19th and 20th centuries associated with Paris. From Piotr Michałowski to Jan Lebenstein, exhibition catalog, National Museum in Szczecin, Szczecin 1999, p. 104 (il.).
Polish Paris. From Michałowski to Lebenstein. Polish Painting from the Collection of Wojciech Fibak, exhibition catalog, Museum of the History of the City of Lodz, Lodz 1999, il. on title page and p. 73 (il.)
Polish Paris. From Michałowski to Lebenstein. Polish Painting from the Collection of Wojciech Fibak, exhibition catalog, Historical Museum in Wroclaw, Wroclaw 1998, il. on the cover and p. 73 (il.)
Polish Paris. From Michałowski to Lebenstein. Polish Painting from the Collection of Wojciech Fibak, exhibition catalog, State Art Gallery in Sopot, Sopot 1998, p. 73 (il.)
Władysława Jaworska, Tadeusz Makowski, Cracow 1999, p. 99 (il.).
Polish Painting in the Collection of Ewa and Wojciech Fibak, exhibition catalog, Warsaw 1992, p. 126 (ill.)
Zbigniew Michał Legutko, A Painting by Tadé Makowski, "The Polish Review" 1980, vol. 25, no. 3/4, pp. 85-89 (ill. p. 86)
Władysława Jaworska, Tadeusz Makowski. Polish painter in Paris, Wrocław-Warszawa-Kraków-Gdańsk 1976, p. 51.
Władysława Jaworska, Tadeusz Makowski. Life and Works, Wrocław-Warszawa-Kraków 1964, cat. no. 530 pp. 357 and p. 241 (mentioned in the text)
Biography
Tadeusz Makowski is one of the most outstanding Polish artists of the 1st half of the 20th century. He was a painter, printmaker and draughtsman. In 1903-08 he studied at the Cracow Academy with Józef Unierzyski, Józef Mehoffer and Jan Stanisławski; at the same time he studied philology at the Jagiellonian University. In 1908, via Munich, he went to Paris, where he settled permanently. From there he traveled to Brittany, Auvergne and the south of France for summer seasons. He also made an artistic trip to Holland and Belgium (1921). In Paris, he was friends with many prominent painters, writers and art dealers. He maintained lively contacts with Polish artists residing in France and was president of the Paris-based "Society of Polish Artists." He exhibited his works at home - in Cracow and Warsaw (from 1907) and Lviv (1910) - and abroad: in Paris, Barcelona, Vienna, Budapest and Amsterdam. He painted figural compositions, landscapes, still lifes and portraits, especially of children. Experimenting with cubist painting, he developed his own individual style. With form, color and light, as well as a certain deformation, he built lyrical though sometimes not without a certain irony or derision in his painting compositions.
