Ch s ,Tr s ,Untitled
|1977-1986||Convex dry print, paper |
|Yes (steel seal)|
|Work on paper |
He studied at the State Higher School of Visual Arts in Łódź under Władysław Strzemiński, the most outstanding artist and art theoretician of the Polish 20th century avant-garde of the interwar era.
His artistic activity included ceramics, weaving, graphic art and drawing. In his art, he developed a unique system which involved an integration of the form of an object with its artistic function. His creative explorations focused on the structural aspect of the work of art, and on structure as a carrier of specific information. He was one of the most distinguished Polish artists of the 20th century.
In 1959, he completed his groundbreaking project – a monumental ceramic bas relief for the University of Łódź library, entitled Composition for Two Hands, resulting from his interest in sign language, and based, as he explained, on the analysis of a conductor’s hand movements. He also worked on a project involving the translation of visual signs into sound during his second scholarship in Paris in 1962 in cooperation with the composer André Almuro. The project evolved into the exhibition shown at Galerie Prismes in Paris.
In 1963, Starczewski created his first visual “alphabet”, or a collection of morphemes – ceramic moulders which he then used to construct his artistic messages.
In 1972, he completed another alphabet – incorporating an obvious ludic element – consisting in porcelain moulds of potatoes, carrots and onions. The artist employed these moulds to assemble his installations – “tables” on which they were intricately arranged, sometimes alongside real bread rolls and vegetables.
Starczewski’s “alphabet” consisted of ceramic and wooden moulders, abstract signs, leaves, vegetables and fruits (real and cast in porcelain), vowels – both written down and uttered aloud – sounds played out on a violin, single words and clusters of words having the same word root, newspaper columns, crossed-out texts, punctuation signs, various objects and debris.
The allusions to linguistic forms were not coincidental, as he approached art as a ground for communication, as a language. He believed that “words are obsolete”, but they can be replaced by visual signs, whose form is a direct carrier of information inherent therein. It was the search for and construction of such language to which he devoted his mature work.
Starczewski was awarded gold medals at the international ceramic competition in Faenza and repeatedly took part in the Tapestry Beinnial in Lausanne. In 1979 he received Grand Prix International at the Graphics Biennial in Tokyo.
Work by the artist is represented in museum collections internationally, including
Tate Gallery, London; Muzeum Sztuki, Łódź; Galleria degli Uffizi, Florence; Musée d’Art Moderne de la Ville de Paris; Bibliothèque nationale de France, Paris;
Stedelijk Museum, Amsterdam; Victoria & Albert Museum, London;
Museum Boijmans Van Beuningen, Rotterdam.
Tr s / 1977-1984 / Convex dry print, paper 凸印干式印刷,纸张/32.7 x 26.5 / unframed 无框 / 人民币 12000
Untitled 无题 / 1986 /Convex dry print, paper 凸印干式印刷，纸张 / 26 x 19.8 cm / unframed 无框 /人民币 11000
Ch s 1/9 / 1984-1986 / Convex dry print, paper 凸印干式印刷，纸张 / E.A / 41 x 34 cm /unframed 无框 /人民币 12000
02 / Untitled / details 光影细节
03 / Ch s / steel sign 钢印签名
03 / Ch s / back notes 反面注释
已逝波兰20世纪杰出的视觉艺术家之一，属于罗兹前卫小组的代表之一，他曾毕业于波兰罗兹（Łódź）国立高等视觉艺术学院，拜于名师 ——波兰20世纪前期跨界时代最杰出的艺术家和艺术理论家Władysław Strzemiński之下。毕业之后在母校任教前卫艺术。他在陶瓷和图形艺术方面有着很高的造诣，曾在法恩扎的国际陶瓷比赛中拿到金奖，也在东京的图形双年展上获得过国际大奖。Starczewski参加过许多展览，并经常获奖，特别是在国际陶瓷和图形比赛中。他在法恩扎的国际陶瓷比赛中获得金牌奖项，并多次参加在洛桑举办的Tapestry Beinnial。 1979年，他在东京的图形双年展上获得了国际大奖。艺术家的作品在国际博物馆收藏中有代表性，其中包括英国伦敦泰特美术馆; 波兰罗兹国立博物馆; 意大利佛罗伦萨乌菲兹美术馆; 法国巴黎摩登现代艺术博物馆; 法国巴黎国家图书馆; 荷兰阿姆斯特丹市立现代艺术博物馆; 英国伦敦维多利亚与艾伯特博物馆; 荷兰鹿特丹博伊曼斯·范伯宁恩美术馆等等。。