same time in Paris, against the shallow (in his opinion) yet widespread
reception of the informel among Polish artists.2/
Of course, the main figurę of Polish constructivism was Henryk
Stażewski, whose name has already been mentioned above. His retro-
spective exhibition organized in the mid-nineties in Łódź showed that al-
8. Kajetan Sosnowski, “Fourfold Picture”, 1968, National Museum, Warsaw
though he tried various directions, including also - in the forties - repre-
senting art, his proper metier or personal paradigm was the constructiv-
ist tradition.28 Monochromatic color surfaces and fiat and spatial
geometrical forms distinctly place Stażewskfs achievement in a neo-con-
structivist perspective. Even when occasionally the harmony of the ele-
ments of composition seems violated (or perhaps exactly because of that),
there is no doubt as to the provenance of his art. Stażewskfs talent
27 J. Przyboś, „Sztuka abstrakcyjna - jak z niej wyjść?”, in: Przegląd Kulturalny, No.
45, 1957. Polemics: M. Porębski, „Jak nie wychodzić”, in: Przegląd Kulturalny, No. 46,
1957; T. Kantor, „Abstrakcja umarła - niech żyje abstrakcja”, in: Zycie Literackie, No. 50,
1957 [appendix Plastyka, No. 16]. Cf. Odwilż. Sztuka ok. 1956, ed. P. Piotrowski, Poznań:
Muzeum Narodowe, 1996, p. 18-19.
28 Henryk Stażewski, 1894-1988. W setną rocznicę urodzin, op. cit.