Modus: Prace z historii sztuki (18.2018)

wanted to change does not wish to move, not even an inch. The Academy also disap-
points. Instead of learning something therein, they bring their invigorating ferment
into its walls. Not everyone likes that. Difficulties are mounting. Nevertheless, they
stubbornly try to charge at the fortress, although they do not fully believe that the
fortress is worth it - Osostowicz swells with pride, having received an invitation to
participate in the exhibition of the “Sztuka” Polish Artists’ Society.6
At the time, Blonder paints a lot, and draws even morę. If Stern admitted to be-
ing the political leader of the Group, then Blonder was one of the artistic leaders.
And indeed, although political matters were important to Blonder, painting was
much morę important still. In 1933 he participated in the exhibition of Modern Art-
ists in Warsaw together with Henryk Stażewski, Katarzyna Kobro and Władysław
Strzemiński. In that same year, he took part in the first exhibition of the Kraków
Group in Lviv. He showed both his abstract and representational works. Critics
noticed him. Quite consistently, the reviewers appreciated, above all, the expres-
sive value of his works. His later work would follow in this direction, especially
from the 1940S onwards. For the time being, he was still searching, and he moved
between various conventions. In 1934 one of his best-known compositions was
created: The Prison, painted under the influence of events that took place at the
Kraków Academy of Fine Arts in 1932, and ended with the arrest of his colleagues
and their expulsion from the university.
In that same year, 1934, after five semesters, Blonder ends his education at the
Kraków school. He begins the question: what next? He tries his hand in Warsaw,
he dabbles in advertising. In 1935 he goes to Bielsko, where he finds employment
as a director and stage designer in a youth theatre affiliated with the Jewish Com-
prehensive School. At the same time, he cooperates with the “Cricot” Theatre, as
do several other members of the Kraków Group.7 He does not seem able to settle
anywhere for much long. In 1936 he returns to Warsaw. He finds it hard to get by and
make a living. He is starting to get sick. Thanks to a scholarship from the Ministry
of Religious Denominations and Public Education, he manages to go to Zakopane
for a cure. There he paints landscapes, above all. As if in spite of the hardships of
life, he begins to achieve his first successes. In January 1936, he received an honorary
distinction at the Polish Artists’ Salon at the ips in Warsaw. He was the first member
of the Kraków Group, who had an individual exhibition organized - in May 1937, in
the Salon of Henryk Koterba in Warsaw. Leon Strakun classed it among the most
interesting events of the season.8 Konrad Winkler and Jerzy Wolff also had high
praise for it.9 This certainly gives him a lot of satisfaction, but the problems of life
are beginning to overwhelm him. He continues to get sick, their paths with Berta
Grunberg are beginning to part morę and morę. He is very upset by the situation

6 S. Osostowicz, Listy, edited by I. Jakimowicz, Kraków 1978, p. 101.
7 In 1935, Sasha Blonder co-designed, together with Maria Jarema and Jonasz Stern, a stage set for
the performance of the ephemeral “Tam-Tam” theatre set up at the “Cricot” theatre. Blonder s
name features on the poster, which was printed on this occasion. That same year, together
with Jarema, Stern and Henryk Wiciński, he took part in a political satire Lajkonik, korporant
i Hamlet staged on the “large stage” of the “Cricot” theatre. See: S. Żytyński, Szopki Adama
Polewki, in: Cyganeria i polityka. Wspomnienia Krakowskie 1919 -1939, edited by J. Bogucka-
Ordyńcowa et al„ Warszawa 1964, p. 390.
8 L. Strakun, Z wystaw. Sasza Blonder - Janusz Treffler, “Ster”, 1937, issue 19, p. 8.
9 K. Winkler, Z warszawskich wystaw, Wystawa zbiorowa S. Blondera w Salonie Koterby, “Pion”,
1937, issue 21, p. 8; J. Wolff, Pod Arkadami, “Arkady”, 1937, p. 328.

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ARTICLES

Natasza Styrna