Warsaw: WZKart, 1962. (24 × 24 cm). Original decorative wrappers;  pp. with 8 tipped-in photographic reproductions of paintings, some in color. In Polish and French. Light soil to wrappers; chip to upper wrapper corner. About very good.
An exhibit catalog of the avant-garde painter Maria Ewa Łunkiewicz (1895–1967), the main practitioner of Purism (and follower of Le Corbusier) in Polish art of the interwar period. The exhibit focused on Łunkiewicz’ abstract works produced in 1957–1961. Most of her work from the 1920s and 1930s was destroyed during WWII, but the catalog shows reproductions of two of Łunkiewicz’ rare works from 1929–1930. Nicknamed “Mewa”, art historian Joanna Inglot writes that Łunkiewicz was “the guiding spirit and organizer of cultural life in Warsaw. Having studied in Paris before the war, she had extensive contacts in France and was instrumental in stimulating interest in French art among the young generation of Polish artists in the 1950s and early 1960s.” Łunkiewicz was also the link between the two pre and post-war avant-gardes. Born to an artistic family, the works of Witkacy, a family friend, adorned the walls of her family home. After WWII, the Warsaw apartment she shared with the Constructivist artist Henryk Stażewski became a meeting place for the most prominent artists and critics of the day, nurturing younger artists such as Magdalena Abakanowicz, Zbigniew Dłubak, and Marian Bogusz. In the 1950s and 1960s she was closely associated with the Foksal Galley (co-founded by Henryk Stażewski) and “Krzywe koło” Gallery (co-founded by Marian Bogusz), which were among the first to show non-figurative art in communist Poland. This individual exhibit of the artist took place at the “Krzywe koło” (Crooked Wheel) Gallery in 1962. Perhaps because much of her work from the interwar avant-garde period was destroyed, Łunkiewicz remains understudied. One of 300 copies. As of July 2020, KVK, OCLC only show the copy at the National Gallery of Australia.
Book ID: 50839