|
kajetan sosnowski ■ presentation of works |
1913 Kajetan
Sosnowski was born in Vilnius,
on March 28.
1922-1934
Completed primary and secondary schools in. Chełm Lubelski. Showed special interest t in music, visual
arts and mathematics.
1934-1939
Studied at the Academy
of Fine Arts
in Warsaw
under Tadeusz Pruszkowski and Władysław Jastrzębowski.
1939-1944
Lived in Siedlce. Cultivated post-impressionistic graphic arts and painting.
1944-1954
Took active part in public and political life: organized visual arts college in
Siedlce, was delegated from Lublin to Łódź by the Department of Culture and
Art of the Provisional Government to organise artistic education system and the
Łódź Branch of the Union of Polish Visual Artists, headed the Central Workers'
Culture Centre in Łódź, editor-in-chief of the Świetlica monthly and
then the artistic head of the Kuźnica weekly. In l949 moved to Warsaw together with the Kuźnica editorial office. From 1949 to 1954 did
illustrations, paintings and graphic works.
1955 Founded
'Group 55', together with Marian Bogusz, Zbigniew Dłubak, Andrzej Zaborowski
and Andrzej Szlagier. From 1956 to 1965 the group ran the 'Krzywe Koło' Gallery
at the Old Town Culture Centre in Warsaw.
1955-1957
Created the series of metaphorical paintings Lyrical Diary, displayed at
the 'Krzywe Koło' Gallery in 1956. Participated in all shows by 'Group 55', and
in 1957 to ok part in the Second Contemporary Art Exhibition at the 'Zachęta'
Gallery in Warsaw.
He wrote in the catalogue for a 'Group 55' exhibition in 1956: 'When I squeeze
paints onto the palette while not having the full concept of a new picture yet
- I mix colours with. an irresponsible ease. If this playful activity results
in a composition that contains a pictorial meaning or the origin of a concept -
I try to read it and so a painting is created (...) After a time, when I have painted
several pictures, my mind governs the palette and then, even when I am not
painting, everywhere in the surrounding world I see the richness of texture and
form in their organic and colouristic ambiguities, then the ideas of my painting
freely combine with form in a uniform structure of thoughts and associations.'
1957-1958
The artist's painting departed from objectiveness and moved towards ever more
simplified and unrealistic symbols, still of a metaphorical character. The
series of Epitaphs Landscapes of Evening Thoughts were created and
exhibited in 1958 at the 'Krzywe Koło' Gallery.
1958-1959
Worked on the series of abstract White Paintings. They constituted a
specific kind of texture painting with clear geometrical features. The
series was shown in 1959 at the 'Krzywe Koło' Gallery. Participated in an
exhibition of seven Polish painters in West
Germany and the
Third Contemporary Art Exhibition at Zachęta Gallery.
1959-1960 Worked on a series of abstract paintings marked
by an asceticism of means and subtlety of glowing colours. They were Biblical
Portraits and Erotics. Became fascinated with Anton Webern's music.
1960-1961 Stayed
in Geneva at
the invitation of the United Nations to offer advice on the refurbishing of the
Palace
of Nations.
Designed two variations of painting for a 130 meter wall. One was accepted for
realisation by Jean Cassou, an expert for the project.
1961-1962 Having returned to Poland,
continued his work on 'series of Biblical Portraits and Erotics. Both
were displayed in 1962 in Chełm Lubelski. Did the first Empty Paintings which
tackle the questions of light emanation from a nearly one-colour pictorial
pIane. The catalogue to his one-man show in Elbląg
in 1962 reads: 'By limiting my means of expression I was better able to
consciously arrange the picture. The restrictions brought some results at once.
(...) I renounced not only the representation but also any association with objects
and any reference to the work of others... This feverish work yielded my grey
painting and other works which are seemingly static (...) Those pictures are a
place for my strange thoughts and emotions which cannot otherwise defined. I
could compare them only to the silence that facilitates listening; Now it seems
obvious to me that in order to see or hear something you have to eliminate the
rest, just like it is with radio listening. Silence and a mysterious space are
places to formulate new matters, while human inquisitiveness is so powerful
that it will take up the risk of looking into the abyss of all realms of
thought.'
1963-1965 Worked on the series of Empty Paintings, done
in a brushless method of spreading the oil paint on canvas by a bare method.
Discovered the music of Edgar Varese. Participated in: Confrontations' in
Koszalin: and the First Parade of Contemporary Art at the 'El' Gallery in Elbląg.
1965 Started
the series of Polyptychs in which he discussed post-visual questions,
complementary colours, colour spaces and a discrepancy between the painter's
and physical perception of colour. Many years later, in an interview by Z.
Taranienko for Sztuka, No 5/1979, he said: Polyptychs emerged as
paintings which, according to Planck' s theory, presented colour in terms
quantum energy. In order to paint them I had to learn to see colour anew –
overcoming my natural habits. I saw green as more intensive than red, red as
having a lower energetic value, black as emptiness... The reds or oranges of Polyptychs
became as if an altar for the colour blue - the one having the most quantum
energy.' Took part in the 'Golden Grape' exhibition in Zielona Góra.
Participated in the First Biennial of Spatial Forms Elbląg, where he realised
the asymmetrical form Sphere Within
Cube. Appointed the head of the visual arts section in the Poezja monthly, remaining on that post
untiI 1972. Wrote the following on the occasion of his exhibition at the
'Współczesna' Gallery in Warsaw,
1968: 'The development of exact sciences, and particularly of physics,
introduced human thought to the world of microstructures and presented it as a power
system in its quantitative and qualitative relations. The light which enables
us to see is but a smalI part of the radiant energy. Various colours are components
of light and they carry different values of energy quantum. Our receptors have
specific mechanics subjected to the laws of physics, but at the same time our
consciousness and subconsciousness still remain in the sphere of reactions that
we re shaped by and inherited from a previous stage of cultural development.
There is a constant necessity of adapting our psychological reception to the
possibilities offered by the new scientific comprehension. In my latest
paintings I deal with colours in their energetic and the selective luminous
values. In the compositions of complementary colours I arrange various versions
of after-images. I do it in order to practise my reception which is used in
other psychobiological relations. This helps me come to the threshold of a new
world of feelings and thoughts.'
1966-1967
Participated in 'Confrontations' in Słupsk, 1966, and in the exhibition
'Space-Movement-Light' at the Museum of Topical Art in Wrocław, 1967.
1968
In May displayed his Polyptychs at the 'od Nowa' Gallery in Poznań,
in June - at the 'Współczesna' Gallery in Warsaw.
In September participated in the Lubusz Plein-Air in Łagów. 1969 In January
received the C. K. Norwid Critics' Award for his 'Współczesna' Gallery show in
the previous year. In August displayed Polyptych sand Double-Sided
Compositions with Windows in Denmark,
in September - the same in Zielona Góra at the 'Golden Grape' exhibition of
'Critics Presenting Artists'. In November participated in 'Kraków Meetings', in
December was present at the Polish art show in West
Berlin, staged by the Museum
of Topical Art
in Wrocław.
1970
Presented his paintings at the 'Mona Lisa' Gallery in Wrocław.
Participated in the 'Wrocław
70' symposium, showing Kinopentaspeira - an asymmetrical structure based
on the Moebius strip. Took part in the Spring Salon in Zakopane. Displayed Polyptychs,
Double-Sided Compositions with Windows and Asymmetrical Structures at
the Museum of Topical Art in Wrocław.
Hi statement published by Odra in 1970 says: 'I have (...) a constant
urge to bum a little hole in the surrounding world to discover its non-visual
aspect. (...) Today, when scientists are using lenses and measuring devices to
look at the expanding world, both in its widest areas and the smallest particles,
I would like to remind people that they are not of another matter or another
world, but that they themselves are the object of this scientific study. We are
arriving at a border between the visual world and a chasm - this is the area
for a new thought and experience, as yet difficult, but if we manage to put the
first stool in it - we can sit on it. I think (...) that we are like leaves on
a tree, but enriched with the knowledge that the history of the long fallen
leaves and the sun which shone on them can be read from the tree rings. This is
because the leaves are more than leaves only, and the tree is more than a tree.
They have other names and they remain indestructible in a bigger, another world.
1971
Exhibited, together with Roman Opałka and Jerzy Rosołowicz, at the 'LP 220'
Gallery in Turin,
in May-June. Participated in the 'Zgorzelec Region' plein-air in Opolno-Zdrój
and in a Symposium in Turoszów.
1972
Started the series of chemical paintings named Metalepseis, presenting phenomena
of the non-visual world. Initiated the foundation of 'Galeria 72' in Chełm
Lubelski. From Autumn 1972 to March 1973 was its co-manager, jointly with art
critic Bożena Kowalska whom he invited to co-operate and to whom he entrusted
the Gallery since April1973. Exhibited at the BWA Art Exhibition Bureau Salon in Lublin.
1973 Presented paintings and asymmetrical structures at 'Galeria 72' in Chełm
Lubelski, and at the 'LP 220' Gallery in Turin, where he showed the Metalepseis
series. Participated in a Polish art show in Denmark.
1974
Exhibited Polyptychs, monochromes, Asymmetrical Structures and a
new architectonic design at the May Salon of Contemporary Art in Łódź. In
February participated in the “Facts 74 Wrocław” Symposium in Wrocław,
showing his Asymmetrical Structures. Obtained the Merit of Culture
badge. Made four fundamental remarks on art at the reverse of a 1974 chemical
painting (owned by Bożena Kowalska): '1. Art never parts with nature. 2. Art
documents the world and human consciousness. 3. Art requires intellectual
activity. 4. Art conquers new areas of human emotional and intellectual
existence'.
1975
Started a new series of sewed paintings called Katalipomenon. Four years
later, in the already mentioned interview by Z. Taranienko for Sztuka, he
said of them: 'The Katalipomenon became 'a tribute to the perfection of
NATURE for the attention and reflection of the viewer (...) The sewed
paintings carry the fourth dimension: time. It is the time when they were
plants and the time of their future, when they will grow old and start showing
the applied process.' Participated in the following exhibitions: 'Art Critics
Recommend' on the occasion of the AICA Congress in 'Zachęta' in Warsaw,
'Aspects of Modern Art' at 'Współczesna' Gallery in Warsaw,
'Space-Man' in Zielona Góra and Kunstmesse in Cologne.
Took part in the 'Interventions' Symposium in Pawłowice and a plein-air session
in Jagniątkowo.
1976
Displayed the Katalipomenon series at the 'Współczesna' Gallery in Warsaw in
April. Two new painting series with lines and cut forms were shown during the
September plein-air session in Łagów. Realised and mounted the Asymmetrical
Tower for the permanent display at the Zielona Góra Museum.
Presented monochromes at the exhibition of nine Polish artists at Ricards
Galerie in Nuremberg,
participated in the 'Art 76' Art Fair in Basel
and in the 'Art and Science. Structures' show at the Visual Artist's Home in Warsaw
displaying spatial forms, and in the 'Osieki 1963-1976' show at the BWA Salon
in Koszalin. Participated in the 'Articipations' Meeting in Dłusko and in the
Fifth National Plastics Workshop in Ustka.
1977
Participated in the exhibition 'Winners of the C. K. Norwid Critics' Award' at
the Visual Artist's Home in Warsaw.
Made artistic travels to West
Germany, France
and Switzerland Took part in the 'Osieki' Koszalin Plein-Air Session in
Darłówek. Seriously injured in a car accident that killed his wife.
1978 Created Equivalent Systems in the form of one-colour
I sewed paintings and made wood relief’s. Simultaneously continued chemical paintings.
Participated in the 'Town Space' plein-air session, designing the Square of
Remembrance and Dreams that featured a Tower of the same name (a
model of it was displayed during the post-plein-air exhibition at 'Galeria 72'
in Chełm).
1979 Exhibited sewed paintings and reliefs at the
'Zapiecek' I Gallery in Warsaw.
Participated in an exhibition staged on the Albert Einstein centennial at the Museum
of Technology
in the Palace
of Culture
and Science in Warsaw.
Made artistic trips to West
Germany, Switzerland
and Italy.
Wrote in a text dated on I May
24,1979: 'Man must conquer the non-visual sphere of the
world like outer space and, similarly to the astronaut who does not fall into abyss after leaving the
spacecraft, a man who explores and compares his visions with the real world of
matter and energy will find there his littleness, greatness and dignity, and
perhaps something more.'
1980-1981
Started .the new series of sewed paintings lnterventions, always
limiting them to one colour. Exhibited the series at the MDM Gallery in Warsaw
in April1981. Participated in the following exhibitions: Polish painting at the
'Depolma' Gallery in Dusseldorf, '35 Years of Polish Painting' at the National
Museum in Poznań, 'Constructivist Trends' at the Visual Artist's Home in Warsaw
and at A. Ekwiński's Gallery in Norrkoping (Sweden) in 1980. Made artistic
travels to West Germany
and Switzerland:
in Autumn 1981left for a one-year stay in Dusseldorf.
1982 The first black sewed paintings were created.
Continued the series of lnterventions and chemical paintings, developed
the series of Equivalent Systems combining the principles and techniques
of two or even three series in particular works of the Systems series.
Discovered the possibility of obtaining the full chromatic scale in chemical paintings
while preserving their transformation quality in accordance with air humidity.
1983
Exhibited chemical and sewed paintings created during his stay in Dusseldorf,
at the Jurgen Blum (Gerard Kwiatkowski) Gallery in Kleinsassen
(February-March). Showed the series of Equivalent Systems at the
'Zapiecek' Gallery in Warsaw.
As part of the 'Artistic Pilgrimage' action in Łódź, displayed eight sewed colour
paintings at the Ślad II Gallery (private apartment of art critic Janusz
Zagrodzki). Participated in the 'Language of Geometry' plein-air which was a
preparatory stage for an exhibition of the same name, mounted by B. Kowalska in
Białowieża in August. Took part in a symposium organised by Józef Robakowski in
Łódź.
1984 Exhibited
sewed and chemical paintings of the Equivalent System series at the
'Krzysztofory' Gallery (June 16-July 15), as well as spatial forms and
installations In Memory ot Mondrian at "Remont' Gallery in Warsaw.
Participated in the exhibition Language of Geometry' at 'Zachęta' in Warsaw
showing the black sewed paintings of Equivalent Systems, in the
'Small is Beautiful' show staged by Ryszard Winiarski at the 'Zapiecek' Gallery
in December and in the 'Between Construction and Structure' exhibition organised by Janusz Zagrodzki in Lublin December
5, 1984 - January 13, 1985) within the framework of Intellectual Current in the
Polish Art After World War II' - a series of events marking the 40th
anniversary of the Polish People’s Republic. Participated in the Second
Plein-Air for artists who use the geometrical language 'Geometry and Emotion'
in Białowieża in August.
1985 Exhibited
paintings of the 'Equivalent Systems' series at BWA Salon in Lublin.
Participated in an exhibition by the Warsaw
visual arts milieu at 'Zachęta' and the 'Interart' International Art Fair in Poznań.
Took part in the Third Plein-Air for artists using the geometrical idiom
'Geometry and Expression' in Okuninka near Chełm in September.
1986
Displayed paintings of the Equivalent Systems series at Studio' Gallery
in Warsaw
(April) and staged a painting exhibition at the private gallery of Mr.
Holscher, the West German cultural attache, in Saska Kępa in Warsaw (May).
Stage the ecological action Katalipomena 2 with the participation of
Andrzej Mitan at the 'Remont' Gallery in Warsaw
(June). Participated in the post-plein-air exhibition 'Geometry and Expression'
at 'Galeria 72' in Chełm in September, and at the “Interart' International Art
Fair in Poznań
in November. Took part in the international exhibition 'The Corner' at the Hofman Galerie in Friedberg (West
Germany) - October
25, 1986 March
1, 1987.
1987
Participated in the group exhibition 'Freiraum' in Kleinssassen (June 13 - July
19) and in the 'Interart' International Art Fair in Poznań
(November). Following four heart attacks in recent years, he was in a critical
health condition. On March 19, the artist wrote in a notebook which he kept in
the final weeks of his life: 'It is five
a.m., a new morning, and I can hear a bird singing
outside my window These single notes I melody which I accept as a sign of life
from something so great and magnificent that it cannot be expressed...' Died in
Warsaw
on November 6.
1988 A
posthumous exhibition (35 works: the early period, the empty, chemical and
sewed paintings, the paintings with crosses, drawings, gouaches) was organised
by Jurgen Blum (Gerard Kwiatkowski) at the New Space Gallery in Langen Bieber
near Fulda (West Germany) from July 23 to December 30. Simultaneously, his
works were displayed at the international constructivist exhibition
'Null-Dimension' which was held at the Space Gallery
at the same time. Three of his works were presented at the 'Geometry and
Metaphor' exhibition, organised by the Chełm
Museum
at the 'Budapest'
Gallery in Budapest.
