Stefan Krygier (1923 Lodz -1997 there), Portrait of his wife, 1994

oil, canvas, 81 x 65 cm, signed p.d.: 'S. Krygier 94', exhibition stickers on the back

EXHIBITED:
- 2001 Stefan Krygier, Jesus Rafael Soto, Verranneman Foundation, Belgium (during Europalia 2001 festival).
- 2011 - Stefan Krygier, Atlas Sztuki, Lodz, Poland.

One of the most important artists of the Polish post-war avant-garde. Studied at the State Higher School of Fine Arts in Lodz, with Władysław Strzeminski and S. Wegner. In 1947, together with Strzeminski, he published "Seeing the Gothic". In the 1940s, he belonged to the Club of Young Artists and Scientists in Warsaw, as part of which he participated in exhibitions at the Salon "Simply", "Zachęta" and the Writers' Club. In 1953 he cooperated with the "St - 53" group in Katowice. From 1957 to 1997, he taught composition, printmaking and design at the Academy of Fine Arts in Lodz, where he became a professor in 1990. He also taught art history and art form analysis. He also earned a diploma in architecture from the Warsaw University of Technology in 1963. He designed and realized many topics in architecture and urban planning. At the same time he practiced painting, printmaking and sculpture, and wrote and published texts on art. He participates in open-air workshops in Osieki and Golden Grape symposia. Since 1975, while continuing to work at the Academy of Fine Arts, he created a sculpture and composition studio at the Institute of Architecture and Urban Planning at the Technical University of Lodz. Initially in the 1950s, he creates paintings inspired by the art of Egypt and Greece, as well as Tasmanian works. The artist devotes the 1960s to matter painting, wood sculpture and printmaking. Paintings appear at this time
inspired by the Jewish cemetery in Prague. In the 1970s, there are reliefs and polychrome reliefs, cycles of "Conflicts" and Colineations". The end of the 1970s, are oil paintings ascetic
in content, referring to constructivism. This period of creativity secured the artist a permanent place in the history of Polish art. The 1980s and 1990s were a period of simultaneous painting. In addition to paintings that were purely geometric in form, the artist painted paintings that referred to iconography and European culture.