Wladyslaw Jackiewicz, IMAGE XI, 1980

100 x 120cm - oil, canvas

signed on the opposite side on the upper bar of the loom: W. JACKIEWICZ | Quadro XI/80 | IMAGE XI/80



Provenance: Private collection, Milan.
Painting exhibited, mentioned and reproduced, among others, in:: - Wladyslaw Jackiewicz Dipinti 1975-1981, cat. exhibition, Palazzo Bagatti Valsecchi, 25 XI - 19 XII 1982, Milano 1982, cat. item 12, color ill. p. nlb;
- Jackiewicz. Gdansk-Milan-Warsaw (cat. exhibition), Agra-Art Auction House Gallery, Warsaw 19 July-31 August 2024, cat. 15, p. 41, color ill.
♣ Droit de suite: ♣ An additional fee will be added to the Purchase Price based on the right of the creator 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 the 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 for 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.