Dimensions: 207 x 285 cm
design authorship attributed to Zofia Stryjeńska
Exhibited
Collection of the Mazovian Museum in Plock, Art déco Branch (analogous piece).
Textile from the 16th to the 20th century. Exhibition from the collection of the Museum of Arts and Crafts, Branch of the National Museum in Poznan, Museum of the City of Gdynia, 1990 (analogous piece)
Polish Kilims from the 18th to the 20th century from the collection of the National Museum in Poznan. National Museum in Poznań, 2008 (analogous piece)
Literature
Similar reproduced in:
Ś. Lenartowicz [ed.], Zofia Stryjeńska. 1891-1976, exhibition catalog, October 2008-January 2009, National Museum in Cracow, Cracow 2008, p. 408, item IX.1.3
M.T. Michałowska-Barłóg [ed.], Tapestry from the 16th to the 20th Century. Exhibition from the collections of the Museum of Arts and Crafts Branch of the National Museum in Poznań, exhibition catalog, Gdynia 1990, no. 40
M.T. Michałowska-Barłóg, Polish Kilims from the Eighteenth to the Twentieth Century, Poznań 2008, cat. no. 7 I, p. 204.
Biography
One of the most outstanding Polish artists of the 1st half of the 20th century. She was the wife of the architect and sculptor Karol Stryjeński. In 1909 she began her studies at Maria Niedzielska's painting school for women. In 1911, disguised as a boy, as Tadeusz Grzymała, she began studying painting in Munich (at that time women were not admitted to the academy there). After a year, recognized by her classmates, she left Munich and returned to Cracow. In 1918 she joined the Cracow Workshops as a toy designer and author of graphic tees. From 1921 to 1927 she lived in Zakopane, where her husband worked as director of the Wood Industry School. After their divorce in 1927, she moved to Warsaw. In 1938 she received several commissions from the Polish Ministry of Foreign Affairs, including a kilim for Emperor Hirohito of Japan. She took part in decorating the interiors of Polish passenger ships: "Batory" and "Piłsudski". She also made frescoes in the Technical and Industrial Museum in Cracow (1917), polychromy of the rooms in the Senator's Tower on Wawel Hill (1917) and interior decorations of the Fukier Winery in Warsaw. As a member of the Association of Polish Artists Rhythm (since 1922), she participated in the International Exhibition of Decorative Arts in Paris in 1925, decorating the main hall of the Polish pavilion designed by J. Czajkowski with six panneaux depicting the Ceremonial Year in Poland. Individual presentations of Stryjeńska's work were held at Warsaw's Society for the Encouragement of Fine Arts (1919, 1926), Paris' Galerie Crillon (1921), London's New Art Salon (1927), Lviv's Museum of Art Industry (1932) and Warsaw's Institute of Art Propaganda (1935), among others. Abroad, the artist exhibited her works at the Venice Biennale (1920, 1930, 1932) and at exhibitions organized in 1927-39 by the Society for the Propagation of Polish Art Among Foreigners. In 1929 she received a grand gold medal for book illustrations at the General National Exhibition in Poznań, and in 1932 she won a gold medal at the 18th Venice Biennale. During the period of Stryjeńska's greatest popularity, her works were distributed in the form of volumes, albums and postcards by the Jakub Mortkowicz publishing house, which published, among others, "Polish Dances," "Pascha. Song of the Resurrection", "Piasts" and "Polish Rituals".