Tytus Czyżewski (1880 Przyszowa - 1945 Kraków), Odaliska, after 1930.

oil, canvas, 82 × 100 cm,
signed l. d.: "Tytus Czyżewski".

on the painting loom, paper exhibition sticker of the Institute of Art Propaganda,
National Museum in Poznań and the stamp of the manufacturer of painting materials

Provenance:
- Warsaw, private collection
- Deposit of the Museum of Art in Lodz (1973-2021)
- Warsaw, collection of Henryk Ładosz (1902-1979), actor and friend of the artist

Exhibited:
- Tytus Czyzewski, National Museum in Poznan, 1974
- XXIV Biennale Internazionale d'Arte, Venice, 1948
- Exhibition of paintings by Tytus Czyzewski, Festival of Art, CBWA, Sopot, August 1956
- X Salon. Painting, graphics, sculpture, Institute of Art Propaganda, Warsaw, November 1938
- XXXIV Exhibition, Warsaw-Łódź, Institute of Art Propaganda, November 1935
- Exhibition of paintings by Titus Czyzewski, Institute for Art Propaganda, Warsaw,
June 1935
- Group of "Ten", Tytus Czyzewski, "Grafiska Sällskapet", Society of Friends of Fine Arts in Krakow, May 1934
- Exhibition of paintings by Tytus Czyzewski, Institute of Art Propaganda, Warsaw, November-December 1932
- "New Generation. First exhibition, Society of Friends of Fine Arts, Lviv, October-November 1935
- "Rhythm" spring salon, Institute of Art Propaganda, Warsaw, May 1932

Reproduced and described:
- "Tytus Czyzewski", catalog compiled by Maria Dabrowska, National Museum in Poznan,
Poznan 1974, cat. no. 30
- Tadeusz Dobrowolski, "Nowoczesne malarstwo polskie", Wrocław-Warszawa-Kraków
1964, vol. III, p. 228
- XXIV Biennale Internazionale d'Arte, Venice, Venice 1948, cat. no. 2 (ill.)
- "Voice of the Artists" 1947, r. VIII, p. 12 (il.)
- "X Salon. Painting, graphics, sculpture", exhibition catalog, Institute of Art Propaganda,
Warsaw 1938, cat. no. 25
- XXXIV Exhibition, Warsaw-Łódź, catalog, Institute of Art Propaganda, Warsaw 1935,
cat. no. 4
- Exhibition of paintings by Tytus Czyzewski, catalog, Institute of Art Propaganda, Warsaw 1935, cat. no. 5
- Group of "Ten", Tytus Czyzewski, "Grafiska Sällskape", exhibition catalog, Society of Friends of Fine Arts in Krakow, Krakow 1934, pos. 332
- Exhibition of paintings by Tytus Czyzewski, catalog, Institute of Art Propaganda, Warsaw 1932, cat. no. 189
- "New Generation. First exhibition, Society of Friends of Fine Arts, Lviv
1935, cat. no. 13
- "Rhythm" Spring Salon, catalog, Institute of Art Propaganda, Warsaw 1932, cat. no. 11

"Tytus Czyzewski was one of the most outstanding painters of our contemporary era. Abstracting from all influences unschooled in the collective life and struggle for his own stance in art, rejecting as unimportant declines in form and breakdowns in artistic line. Tytus wielded, as only very few painters do, a tremendous sense of color, self-consciously fusing it into a form innate only to him, which directly perfectly reflected his personality both spiritual and physical [...] ".
On Tytus Czyzewski, Andrzej Pronaszko in: Joanna Pollakowna, "Tytus Czyzewski," Warsaw 1971, p. 70.
Leon Chwistek wrote about Czyzewski as follows: "(...) a great, perverse, strange artist, who with all ruthlessness tramples on the superstitions of philistines who do not possess themselves with indignation that a fanatic of pure art has been found, who does not want to provide them with sensational thrills, nor to teach, nor to convert, nor to console, nor to add to their fantasies, but wants to force them to hear and feel the power of the word and the strangeness of rhythm liberated from the bonds of ingrained associations (....) Titus Czyzewski is a true artist. Whether he expresses himself in poetry or in painting, whether it comes to his struggle with content or with the real world - he always knows how to break superstitions with the ruthlessness of a visionary gazing at the inevitable great goal, forging on their ruins a form new and created only for himself [...] Leon Chwistek in: Joanna Pollakowna, "Tytus Czyżewski," Warsaw 1971, pp. 72-3.
"Czyzewski liked to show his canvases. Then he always had the same platitudes on his lips (he absolutely did not believe what he was saying): "It's an awful thing like this, oh I painted it like this, and it's like this too" (...) Czyzewski had a lovely time with his painting. He couldn't get bored with the model, which was just a pretext for him to paint. His freedom towards the model could envy him the greatest master of the brush. On the surface, Czyzewski sat down and painted as children paint, without any thought or hesitation. He looked at nature with one total vision of his own, and from this treasure he drew all possibilities, lightness and directness. But this expansive, violent discharge as he worked was already only the final result of a previous, sometimes longer-acquired, inner concentration (...) He would look at a set model and quickly, decisively, carelessly reproduce it on the canvas as an intricate color arabesque. [...] In the compositional approach to portraiture, Czyzewski can be considered a great teacher: the binding of the figure with the background, in composing it, the arrangement of the whole, the color solution, the vibration of the whole surface - I do not find similar in contemporary Polish art," Teresa Tyszkiewiczowa on Tytus Czyzewski, in Joanna Pollakowna, "Tytus Czyzewski," Warsaw 1971, p. 79.