DOI issue:
Nr. 1-2
DOI article:Wierzbicka, Anna: Andrzej Pronaszko: znany scenograf i zapomniany malarz
DOI Page / Citation link:https://doi.org/10.11588/diglit.48917#0123
ANDRZEJ PRONASZKO
works on various themes: portraits, landscapes, genre
scenes, as well as, religious and symbolic compositions.
These works are known today only from their titles listed
in exhibition catalogues. From 1913 to 1916 he painted
two series: From a Mental Asylum and Burial. An
existing work from the first series is the water colour
Insane Pilgrim [ill. 2], and from the second is a water
colour and gouache Procession [ill. 12], The last work
is typical for its marked contour also occurring in Prona-
szko^ later works from 1916-1917. His gouaches Depo-
sitionfrom the Cross (now lost) and Monk [ill. 13] were
apparently projects for mosaics or stained glass Win-
dows. A tapering and almost secessionist linę is typical
for gouaches from the years 1918-1920 including The
Wedding andAnnual Guests, both lost, and a poster for
theSecondExpressionistExhibition held in 1918 [ill. 5].
A similar linę appears in Pronaszko’s drawings from the
same period, some of which may have been projects for
woodcuts. The artist also worked in the area of graphic
arts and designed book covers [ill. 4].
Works from 1921: The Flight ofMary to Egypt or
Portrait ofthe Wife [ill. 11] are morę monochromatic,
with a grey-blue tonality closer to Cubism.
In 1926 Pronaszko joined the "Praesens" group.
From that moment on, his canvases reveal a perasive
geometrization of figures and a limited rangę of colours.
Such compositions as the lost Musicians [ill. 9] are
closer to synthetic Cubism while the Scene (Constructi-
vist Composition) [ill. 14] canbe connected with works
by the Purists. Musical Instruments, flowers and various
objects were now the predominant themes of the artist’s
compositions from 1949-1953; these works were exe-
cuted after a long interval caused by his involvement
with stage designing.
It seems worthwhile to add that throughout an entire
period of experimentation with form, Pronaszko painted
realistic landscapes, mainly in the South of France and
Italy, which were displayed at numerous exhibitions
held from 1929 to 1935.
The paintings of Andrzej Pronaszko constitute an
excellent documentation of his interests and influences.
The artist seemigly worked "for himself", an approach
to painting which offered both occupation and relaxa-
tion in the morę difficult periods of his life.
Translated by Aleksandra Rodzińska-Chojnowska
113
works on various themes: portraits, landscapes, genre
scenes, as well as, religious and symbolic compositions.
These works are known today only from their titles listed
in exhibition catalogues. From 1913 to 1916 he painted
two series: From a Mental Asylum and Burial. An
existing work from the first series is the water colour
Insane Pilgrim [ill. 2], and from the second is a water
colour and gouache Procession [ill. 12], The last work
is typical for its marked contour also occurring in Prona-
szko^ later works from 1916-1917. His gouaches Depo-
sitionfrom the Cross (now lost) and Monk [ill. 13] were
apparently projects for mosaics or stained glass Win-
dows. A tapering and almost secessionist linę is typical
for gouaches from the years 1918-1920 including The
Wedding andAnnual Guests, both lost, and a poster for
theSecondExpressionistExhibition held in 1918 [ill. 5].
A similar linę appears in Pronaszko’s drawings from the
same period, some of which may have been projects for
woodcuts. The artist also worked in the area of graphic
arts and designed book covers [ill. 4].
Works from 1921: The Flight ofMary to Egypt or
Portrait ofthe Wife [ill. 11] are morę monochromatic,
with a grey-blue tonality closer to Cubism.
In 1926 Pronaszko joined the "Praesens" group.
From that moment on, his canvases reveal a perasive
geometrization of figures and a limited rangę of colours.
Such compositions as the lost Musicians [ill. 9] are
closer to synthetic Cubism while the Scene (Constructi-
vist Composition) [ill. 14] canbe connected with works
by the Purists. Musical Instruments, flowers and various
objects were now the predominant themes of the artist’s
compositions from 1949-1953; these works were exe-
cuted after a long interval caused by his involvement
with stage designing.
It seems worthwhile to add that throughout an entire
period of experimentation with form, Pronaszko painted
realistic landscapes, mainly in the South of France and
Italy, which were displayed at numerous exhibitions
held from 1929 to 1935.
The paintings of Andrzej Pronaszko constitute an
excellent documentation of his interests and influences.
The artist seemigly worked "for himself", an approach
to painting which offered both occupation and relaxa-
tion in the morę difficult periods of his life.
Translated by Aleksandra Rodzińska-Chojnowska
113