DOI Page / Citation link:
https://doi.org/10.11588/diglit.55687#0211
U źródeł polskiej awangardy. Przypomnienie Stanisława Stuckgolda
207
Bibliografia
Alexa, Negrean 2012 = Alexa, Tiberiu, Negrean, loan
Anghel: „Stanislaus Stuckgold, Malul Sasarurul
la Baia Marę”, 2012, www.muzartbm.ro/stanislas-
-stuckgold, dostęp: 07.06. 2013.
Daubler 1921 = Daubler, Theodore [Stanislaus Stiick-
gold]: Der Cicerone, 6 (1921).
Klingsland 1933 = Klingsland, Zygmunt S.: „Quelques
expositiones polonais a Paris”, Pologne Litteraire, 87
(1933): 7.
Malinowski 1991 = Malinowski, Jerzy: Sztuka i nowa
wspólnota. Zrzeszenie Artystów „Bunt” 1917-1922,
Wiedza o Kulturze, Wrocław 1991.
Malinowski 1993 = Malinowski, Jerzy: „Polska awan-
garda w Niemczech 1900-1933” [w:] Między Polską
a światem. Od średniowiecza po lata II wojny świa-
towej, Mieczysław Morka, Piotr Paszkiewicz (red.),
Instytut Sztuki PAN, Warszawa 1993: 260-270.
Malinowski 2000 — Malinowski, Jerzy: Malarstwo
i rzeźba Żydów Polskich w XIX i XX wieku, Wydaw-
nictwo Naukowe PWN, Warszawa 2000.
Malinowski 2004 = Malinowski, Jerzy: „Warszawskie
środowisko artystyczne początku XX wieku (w stu-
lecie założenia Szkoły/Akademii Sztuk Pięknych
w Warszawie)”, Pamiętnik Sztuk Pięknych, 1 (2004):
9-14.
Osterrieder = Osterrieder, Marcus: „Trapesnikov, Trifon
Georgievitsch”, http://biographien.kulturimpuls.
org/detail.php?&id=713, dostęp: 08. 06. 2013.
Salmon 1954 = Salmon, Andre: Stanislaus Stiickgold,
Les Gemeaux, Paris 1954.
Steffen 1961 = Steffen, Elisabeth: Selbstgewdhltes Schick-
sal, [brak miejsca wydania] 1961; 2 wyd. 1978.
Weiler 1962 = Weiler, Clemens: Stanislaus Stiickgold,
Limes, Wiesbaden 1962.
Westheim 1917 = P. W. [Westheim, Paul]: „Stanislaus
Stiickgold: Ein Selbestportrat”, Das Kunstblatt, 2
(1917): 40-41.
Jerzy Malinowski
At the roots of Polish avant-garde.
Recollection of Stanisław Stuckgold
At the turn of the 20th century, Warsaw, subjected to repressions after the fali of the January Uprising,
could not compete with Russian milieux - St. Petersburg and Moscow. The Warsaw milieu lost the domi-
nant position in Polish artistic life to the communities of Galicia - Cracow and Lwów. One can specify
a number of reasons of this situation, especially the political climate of the time of the Russian occupa-
tion, censorship, poor education system and weak artistic instirutions. The beginning of the 20th century
brought the largest losses in the entire history of Polish artistic circles. Among those who left Warsaw at
that time and settled in Paris were: painters Ludwik Markus (Louis Marcoussis), Henri Hayden, Mela
Muter, Gustaw Gwozdecki, Eugene Zak, sculptors Elie Nadelman, Boleslav Biegas, Stanisław K. Ostrowski
and Edward Wittig, theorists and art critics - Mieczysław Goldberg (Mecislas Goldberg) and Waldemar
Jerzy Jarociński (Waldemar George).
Among the political refugees from Warsaw was also Stanisław Stuckgold (Warsaw 1868 - Paris 1933)
- painter once known in Europę, probably not of the highest artistic rank, however, an outstanding per-
sonality of the international milieu of Paris and Munich. His work formed the basis of the Polish avant-
garde of the 20th century. In Paris he maintained contacts among others with Matisse, Picasso, Rousseau,
Apollinaire, Salmon, Freundlich. In Munich, he entered the circle of the Neue Kiinstler Vereinigung;
thanks to Franz Marc he contacted the group Der Blaue Reiter. At that time, he had relations with the
Russian milieu (Werefkin, Trapeznikov). In Germany he took part in the most presrigious exhibitions.
Stiickgolds fascinating personality combined innovative ideas on art with a deep interest in philosophy
and Jewish mysticism, but also Christianity, eventually leading him to the occult. He was involved with the
Anthroposophic Society in Dornach. His art emerged from two sources: Rousseaus primitivism and Mat-
isses fauvism. He was the first Polish painter who adopted the principles of fauvism. Like Der Blaue Reiter
circle, he was inspired by the folk art. During World War I he revealed associations with expressionism.
207
Bibliografia
Alexa, Negrean 2012 = Alexa, Tiberiu, Negrean, loan
Anghel: „Stanislaus Stuckgold, Malul Sasarurul
la Baia Marę”, 2012, www.muzartbm.ro/stanislas-
-stuckgold, dostęp: 07.06. 2013.
Daubler 1921 = Daubler, Theodore [Stanislaus Stiick-
gold]: Der Cicerone, 6 (1921).
Klingsland 1933 = Klingsland, Zygmunt S.: „Quelques
expositiones polonais a Paris”, Pologne Litteraire, 87
(1933): 7.
Malinowski 1991 = Malinowski, Jerzy: Sztuka i nowa
wspólnota. Zrzeszenie Artystów „Bunt” 1917-1922,
Wiedza o Kulturze, Wrocław 1991.
Malinowski 1993 = Malinowski, Jerzy: „Polska awan-
garda w Niemczech 1900-1933” [w:] Między Polską
a światem. Od średniowiecza po lata II wojny świa-
towej, Mieczysław Morka, Piotr Paszkiewicz (red.),
Instytut Sztuki PAN, Warszawa 1993: 260-270.
Malinowski 2000 — Malinowski, Jerzy: Malarstwo
i rzeźba Żydów Polskich w XIX i XX wieku, Wydaw-
nictwo Naukowe PWN, Warszawa 2000.
Malinowski 2004 = Malinowski, Jerzy: „Warszawskie
środowisko artystyczne początku XX wieku (w stu-
lecie założenia Szkoły/Akademii Sztuk Pięknych
w Warszawie)”, Pamiętnik Sztuk Pięknych, 1 (2004):
9-14.
Osterrieder = Osterrieder, Marcus: „Trapesnikov, Trifon
Georgievitsch”, http://biographien.kulturimpuls.
org/detail.php?&id=713, dostęp: 08. 06. 2013.
Salmon 1954 = Salmon, Andre: Stanislaus Stiickgold,
Les Gemeaux, Paris 1954.
Steffen 1961 = Steffen, Elisabeth: Selbstgewdhltes Schick-
sal, [brak miejsca wydania] 1961; 2 wyd. 1978.
Weiler 1962 = Weiler, Clemens: Stanislaus Stiickgold,
Limes, Wiesbaden 1962.
Westheim 1917 = P. W. [Westheim, Paul]: „Stanislaus
Stiickgold: Ein Selbestportrat”, Das Kunstblatt, 2
(1917): 40-41.
Jerzy Malinowski
At the roots of Polish avant-garde.
Recollection of Stanisław Stuckgold
At the turn of the 20th century, Warsaw, subjected to repressions after the fali of the January Uprising,
could not compete with Russian milieux - St. Petersburg and Moscow. The Warsaw milieu lost the domi-
nant position in Polish artistic life to the communities of Galicia - Cracow and Lwów. One can specify
a number of reasons of this situation, especially the political climate of the time of the Russian occupa-
tion, censorship, poor education system and weak artistic instirutions. The beginning of the 20th century
brought the largest losses in the entire history of Polish artistic circles. Among those who left Warsaw at
that time and settled in Paris were: painters Ludwik Markus (Louis Marcoussis), Henri Hayden, Mela
Muter, Gustaw Gwozdecki, Eugene Zak, sculptors Elie Nadelman, Boleslav Biegas, Stanisław K. Ostrowski
and Edward Wittig, theorists and art critics - Mieczysław Goldberg (Mecislas Goldberg) and Waldemar
Jerzy Jarociński (Waldemar George).
Among the political refugees from Warsaw was also Stanisław Stuckgold (Warsaw 1868 - Paris 1933)
- painter once known in Europę, probably not of the highest artistic rank, however, an outstanding per-
sonality of the international milieu of Paris and Munich. His work formed the basis of the Polish avant-
garde of the 20th century. In Paris he maintained contacts among others with Matisse, Picasso, Rousseau,
Apollinaire, Salmon, Freundlich. In Munich, he entered the circle of the Neue Kiinstler Vereinigung;
thanks to Franz Marc he contacted the group Der Blaue Reiter. At that time, he had relations with the
Russian milieu (Werefkin, Trapeznikov). In Germany he took part in the most presrigious exhibitions.
Stiickgolds fascinating personality combined innovative ideas on art with a deep interest in philosophy
and Jewish mysticism, but also Christianity, eventually leading him to the occult. He was involved with the
Anthroposophic Society in Dornach. His art emerged from two sources: Rousseaus primitivism and Mat-
isses fauvism. He was the first Polish painter who adopted the principles of fauvism. Like Der Blaue Reiter
circle, he was inspired by the folk art. During World War I he revealed associations with expressionism.