8 Tadeusz Brzozowski (1918 - 1987) "Huncwoty," 1966 oil/canvas, 151 x 119 cm signed, dated and described on the stretcher: 'T. BRZOZOWSKI It's 151 x 119 "HUNCWOTS" 1966' on the reverse the assemble tip ID: 182040 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 Jean-Marie Drot collection, Paris Polswiss Art, 2017 private collection, Europe DESA Unicum, 2025 private collection, Poland Literature Brzozowski, exhibition catalogue, Galerie Lambert, introduction by Edouard Jauer, Paris 1965, p. nlb. Jacques Lambert, Cimaises parisiennes, Frederic Megret, En Pologne, les peintres abstracts gagnent maintenant leur vie (With Tadeusz Brzozowski interviewed...), Figaro Literaire, July 1960 Happening pour objets, Arts', no. 41, 1966 Tadeusz Brzozowski 1918-1987, [ed.] Anna Zakiewicz, Warsaw 1997, cat. pos. 174 Exhibited Brzozowski, solo exhibition, Galerie Lambert, Paris 14.04-9.07.1966 More information I'm not totally serious. In Huncwoty from 1966, Tadeusz Brzozowski combines painting expression with grotesque and irony. On a dark background, irregular forms appear in shades of ochre, yellow and bronze, bringing to mind fantastic characters or peculiar organisms. Their deformation, expressive contours and varied texture of paint blur the border between abstraction and figure. The performance remains ambiguous and its reception largely depends on the associations launched by the viewer. Brzozowski, associated with the Krakow Group and the International Movement Phases, was one of the most individual creators of the Polish post-war avant-garde. In his painting, not only deformity and expression of matter played an important role, but also humor, prejudice and distance from artistic pathos. Like he said, "I'm too smart to be smart." This self-iron declaration well reflects his dislike for overly serious explanations of art. The titles were an important element of Brzozowski's artistic expression. He reached for archaisms, regionalisms and words with a peculiar sound, combining them with images on the basis of unobvious associations. In a conversation published in the "Tygodnik Powszechny" in 1992 he explained: "In my paintings titles are primarily ironic," adding that even a serious statement should sometimes blink an eye. In Huncwots, this principle is realized by the very word meaning ravens or rascals. It gives the composition a humorous tone, although it does not explain the presented forms. Groteska here is not only a way of deforming shapes, but also a tool to undermine clear readings. 1966 was an important moment in the international presentation of Brzozowski's work. From April 14 to July 9, his works were shown at an individual exhibition at Galerie Lambert in Paris. The following year the artist's paintings were also presented in Bergen, Stavanger, Helsinki, Copenhagen and Aalborg. The interest of foreign centers confirmed the growing recognition of his painting, which eluded simple divisions into abstraction and figure. Brzozowski's position on the Polish art market also confirms auction results. During the sale of the collection Jana and Lily Kunczyński, organized by DESA Unicum on 21 November 2024, the Ront of 1971 reached PLN 3.24 million and the Hantles of the same year were sold for PLN 840 thousand.