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DOI Artikel:Dec, Małgorzata: Irena Pokrzywnicka - życie i twórczość: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35031#0319
IRENA PORRZYWNICKA - ŻYCIE I TWÓRCZOŚĆ
3!1
designs for fashionable clothing produced by the
famous Warsaw dressmaking concem of Gustaw
Żmigryder, in her illustrations the artiste took care to
produce a delicate and precise, if by this stage less
flowing linę, awakening a 'classicising', flatly
treated one fuli of feminine appeah which morę
powerfully 'geometricised' and slenderised the
figurę. In addition she applied a metalic light-shade
effect, also emphasising the intensive, frequently
even theatrical make-up of slim models,
approaching at certain moments Art Deco, or morę
precisely the French illustrators Paul Iribe and
Georges Lepape
It seems likely that in 1932 Irena Pokrzywnicka
retumed to Poland for good. In this time she took up
the interior decoration of a number of ministeriał
premises and palatial residences, including those of
the Potockis at Jabłonna and Kościelskis at
Miłosław. This found its fullest expression in the
artiste's design in 1939 for the interiors of the Woven
Fabrics Section in Mo Tu z wnętrze Tekorocy/ne
('Fashion and Decorated Interiors') for the Polish
Pavilion at the New York World Exhibition of 1939.
It was this design that brought her unprecedented
success. She spent the occupation period in Poland,
took part in the Warsaw Uprising (cf. her well-
known picture titled Motku Poyko Z. W ['Holy
Madonna of the Home Army']). Following the
Uprising's collapse, she spent time in the prison
camps of Lamsdorf, Altenburg and Oberlangen.
Following her liberation from the latter in January
1945, she took up residence in Paris, receiving a
grant from the Military Mission, and she began work
on a documentary cycle titled Pokteto-żo/merz
7. /renu Pokrzywniku
2. /renu Pokrzywniku w/tk ker .son, Zyg/nnnt
3. /renu Pokrzywniku onT Zygmunt (ogeT 9),
Wuryuw 79/9 (?)
4. /renu Pokrzywniku un<7 Zygmunt, PonTon 7969
ó./reno Pokrzywntcku (^econT/rom /e/t) wttk
uc^uumtuncey (/ire.sumok/y Po/Ak enu'gre.s), PonTon
/960
ó./renu Pokrzywntcku, 'The Dancer', keg. /920y
wutercotoun gouucke
7. /renu Pokrzywntcku, 'AToast', 7920, woterco/om;
poper
& /renu Pokrzywntcku, Front cover to „Pani": At the
horseraces, models of Gustaw Żmigryder, 7922,
oTrertAemenA
9. /reno Pokrzywntcku, Green carnival, 7923,
Truwtng
70. /reno Pokrzywntcku, Portrait so-called of a
(Po/k/ t o/tontkz)) ('Woman-soldier. Polish and Allied
women'). She continued the religious theme already
taken up in her painting (e.g: Motku Po^ko PoAk/ego
3ztono'oru ['Holy Madonna of the Polish Standard'],
Motku Pozo PoAk/e/' Pm/grucp ['Holy Madonna of
Polish Emigration'], Motku Pojko - Pró/owo
PoAk/ego JFEckouYytwo ['Holy Madonna of Polish
Refugees'], Motku Poyko z Grim ['Holy Madonna
with Eagle'] and Pont z Pwne/ Gózy ['Lady of the
Jasna Góra']), in which she modernised, for
examp!e, traditional presentations of the Holy
Madonna of Częstochowa.
From 1947 she carried out the functions of
artistic director of the International Intellectuals'
Club, in which she organised a series of painters'
meetings and number of exhibitions while also
designing the interior decor of three halls. She
worked in collaboration with the weekly paper
„Polska Wierna" ('Poland Devout'). In 1952 she
took part in ILpytowo Po/sP/e/ Pztukt /GAci/ne/
('Exhibition of Polish Church Art') in the Polish
Church Seminary in Paris, two years later in
JFpytuwu PoAk/ck Py/^żekMoz-yy/zyck ('Exhibition
of Polish Marian Priests') in the Polish Papai
Collegium in Romę. At the beginning of October
1954 she took part in an Annual Salon titled Femmes-
PeZutre.s Pt Scu/pteury organised at the Musee de
Beaux-Arts, while at the end of that month she took
part in the exhibition titled 7VoPe-Domc Dons* P 'Zrt
<4es* urk.sUe.s' po/onoA cu Proucc, once again in the
Polish Church Seminary.
In 1956 she left Paris to live in London,
developing contacts with the Polish emigre there.
She died on 21st September 1975.
Pkc PT/tors'
Woman with fan, so-called Portrait art. dramat, of
Maria Brydzińska-Potocka, co. 7923, o//
77. /renu Pokrzywmcko, Backstage, /926 or /927,
wotcrco/our
72. /reno Pokrzywmcko, so-called Family of circus
dancers, co. 7923 or 7929, PorA, temgero, 73. /reno
Pokrzywmcko, Couple in love and mocker, 7929,
Por/s, woterco/our o/; yoyer .szzyer/'myo.seT on o k/uck
croyon .ske/ck
74. /reno Pokrzywmcko, Irony and love 7929, PurA,
Trowtng (prokok^y woterco/our)
73. /reno Pokrzywmcko, potntzngs'.' o. Spring (I), k.
Summer so-called Blossoming branch (II) or Summer
(III), c. Autumn (I), yrom cyc(e / o/Tour Seasons of
the Year, 7930 or 7937, Por A, tempero
76. /reno Pokrzywmcko, pomtmg.* o. Spring (II), k.
Summer (IV), /rom cyc/e // pCFour Seasons of the
Year, pre-/939, o/7 on conros'
3!1
designs for fashionable clothing produced by the
famous Warsaw dressmaking concem of Gustaw
Żmigryder, in her illustrations the artiste took care to
produce a delicate and precise, if by this stage less
flowing linę, awakening a 'classicising', flatly
treated one fuli of feminine appeah which morę
powerfully 'geometricised' and slenderised the
figurę. In addition she applied a metalic light-shade
effect, also emphasising the intensive, frequently
even theatrical make-up of slim models,
approaching at certain moments Art Deco, or morę
precisely the French illustrators Paul Iribe and
Georges Lepape
It seems likely that in 1932 Irena Pokrzywnicka
retumed to Poland for good. In this time she took up
the interior decoration of a number of ministeriał
premises and palatial residences, including those of
the Potockis at Jabłonna and Kościelskis at
Miłosław. This found its fullest expression in the
artiste's design in 1939 for the interiors of the Woven
Fabrics Section in Mo Tu z wnętrze Tekorocy/ne
('Fashion and Decorated Interiors') for the Polish
Pavilion at the New York World Exhibition of 1939.
It was this design that brought her unprecedented
success. She spent the occupation period in Poland,
took part in the Warsaw Uprising (cf. her well-
known picture titled Motku Poyko Z. W ['Holy
Madonna of the Home Army']). Following the
Uprising's collapse, she spent time in the prison
camps of Lamsdorf, Altenburg and Oberlangen.
Following her liberation from the latter in January
1945, she took up residence in Paris, receiving a
grant from the Military Mission, and she began work
on a documentary cycle titled Pokteto-żo/merz
7. /renu Pokrzywniku
2. /renu Pokrzywniku w/tk ker .son, Zyg/nnnt
3. /renu Pokrzywniku onT Zygmunt (ogeT 9),
Wuryuw 79/9 (?)
4. /renu Pokrzywniku un<7 Zygmunt, PonTon 7969
ó./reno Pokrzywntcku (^econT/rom /e/t) wttk
uc^uumtuncey (/ire.sumok/y Po/Ak enu'gre.s), PonTon
/960
ó./renu Pokrzywntcku, 'The Dancer', keg. /920y
wutercotoun gouucke
7. /renu Pokrzywntcku, 'AToast', 7920, woterco/om;
poper
& /renu Pokrzywntcku, Front cover to „Pani": At the
horseraces, models of Gustaw Żmigryder, 7922,
oTrertAemenA
9. /reno Pokrzywntcku, Green carnival, 7923,
Truwtng
70. /reno Pokrzywntcku, Portrait so-called of a
(Po/k/ t o/tontkz)) ('Woman-soldier. Polish and Allied
women'). She continued the religious theme already
taken up in her painting (e.g: Motku Po^ko PoAk/ego
3ztono'oru ['Holy Madonna of the Polish Standard'],
Motku Pozo PoAk/e/' Pm/grucp ['Holy Madonna of
Polish Emigration'], Motku Pojko - Pró/owo
PoAk/ego JFEckouYytwo ['Holy Madonna of Polish
Refugees'], Motku Poyko z Grim ['Holy Madonna
with Eagle'] and Pont z Pwne/ Gózy ['Lady of the
Jasna Góra']), in which she modernised, for
examp!e, traditional presentations of the Holy
Madonna of Częstochowa.
From 1947 she carried out the functions of
artistic director of the International Intellectuals'
Club, in which she organised a series of painters'
meetings and number of exhibitions while also
designing the interior decor of three halls. She
worked in collaboration with the weekly paper
„Polska Wierna" ('Poland Devout'). In 1952 she
took part in ILpytowo Po/sP/e/ Pztukt /GAci/ne/
('Exhibition of Polish Church Art') in the Polish
Church Seminary in Paris, two years later in
JFpytuwu PoAk/ck Py/^żekMoz-yy/zyck ('Exhibition
of Polish Marian Priests') in the Polish Papai
Collegium in Romę. At the beginning of October
1954 she took part in an Annual Salon titled Femmes-
PeZutre.s Pt Scu/pteury organised at the Musee de
Beaux-Arts, while at the end of that month she took
part in the exhibition titled 7VoPe-Domc Dons* P 'Zrt
<4es* urk.sUe.s' po/onoA cu Proucc, once again in the
Polish Church Seminary.
In 1956 she left Paris to live in London,
developing contacts with the Polish emigre there.
She died on 21st September 1975.
Pkc PT/tors'
Woman with fan, so-called Portrait art. dramat, of
Maria Brydzińska-Potocka, co. 7923, o//
77. /renu Pokrzywmcko, Backstage, /926 or /927,
wotcrco/our
72. /reno Pokrzywmcko, so-called Family of circus
dancers, co. 7923 or 7929, PorA, temgero, 73. /reno
Pokrzywmcko, Couple in love and mocker, 7929,
Por/s, woterco/our o/; yoyer .szzyer/'myo.seT on o k/uck
croyon .ske/ck
74. /reno Pokrzywmcko, Irony and love 7929, PurA,
Trowtng (prokok^y woterco/our)
73. /reno Pokrzywmcko, potntzngs'.' o. Spring (I), k.
Summer so-called Blossoming branch (II) or Summer
(III), c. Autumn (I), yrom cyc(e / o/Tour Seasons of
the Year, 7930 or 7937, Por A, tempero
76. /reno Pokrzywmcko, pomtmg.* o. Spring (II), k.
Summer (IV), /rom cyc/e // pCFour Seasons of the
Year, pre-/939, o/7 on conros'