Jerzy Nowosielski (1923 - 2011) Landscape of Lodz (Gymnast) - two-sided painting, 1951 oil/canvas, 40.5 x 51.5 cm signed and dated lower left: 'J. == sync, corrected by elderman == @elder_man signed on the reverse along the left edge: 'J. == sync, corrected by elderman == @elder_man ID: 119365 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. - To this lot we apply 'artist&s owe right' (&#xx27;droit de suite&#xi27;) fee. Royalties are calculated using a sliding scale of percentage of the hammer price. Provenance private collection, Poland Opinions authenticity and proven consulted with Andrzej Szczepaniak certificate of Novosielski Foundation in Cracow attached to the artwork Literature Jerzy Nowosielski, catalogue of an individual exhibition, Zachęta State Gallery of Art, Warsaw 2003, item 150, p. 95 (ill.) Exhibition of paintings by Jerzy Nowosielski, exhibition catalogue, Exhibited Jerzy Nowosielski, retrispective, Central Bureau of Art Exhibitions, Warsaw, 6.03-26.03.1963 More information Jerzy Nowosielski spent nearly twelve years in Łódź. It was the only long stay of the artist outside the native Krakow. He claimed that Łódź, along with its monotonous urbanist and uglier architecture, which he willingly established in his works, was a very important stage in his work, although outside the Kraków environment he felt isolated from the novelties of the art world, and this period is often considered marginal in his art. The artist went to Łódź in connection with his wife's offer as a stage designer at the Arlekin Puppet Theatre. He himself adopted the position of artistic director of the State Doll Theatre Directorate. Staying in Łódź coincides with the culmination of the doctrine of socialism and its ubiquitous impact on the art environment. Jerzy Nowosielski, conscious and attentive to the phenomenon, did not enter the dominant current, so in the early 1950s he almost did not exhibit. As he himself admitted, I was sitting at home painting... I could not adapt. Not even that I don't want to. It was out of my league. In his first monograph, the artist Mieczysław Porębski wrote: "Jerzy Nowosielski lives in Łódź." The extensive studio, which he and his wife recently occupy, has been converted, as usual, from parts of the attic rooms in a large new block in the northern part of the city. Through a rectangular gap of low windows, you can see long-term muddy lines of streets, monotonous and gray crystallization of roofs, disappearing in dirty fog cones of chimneys. Nearly twenty years later, Marcelina Obarska notes that: For many it would be an uninteresting and not very inspiring sight, but Novosielski chose it as a peculiar object of fascination. Like Władysław Strzemiński, he created a series of Łódź landscapes at Strzeminski's, and some lithographs of £ód1⁄4 landscape do not bring to mind the city at all. Nowosielski's compositions were different: Łódź perceived geometrically, in his paintings are dominated by simple lines which coincide in a seemingly realistic but nevertheless distorted perspective; he painted rails, cold high walls and sad orbits of windows. The brick buildings were called tenderly the Gothic Gothique. (Source: https://culture.pl/en/artykuł/nowosielski-w-lodzi-cza-wszydota-i-teatr-lalek, access: 12.11.2024).