9 Henryk Stazewski (1894 - 1988) "White Relief no. XXVIII", 1961 acrylic, relief/fiberboard, wood, 31.5 x 38 cm == sync, corrected by elderman == @elder_man label with the work's description on the reverse: &HENRYK STAZEWSKI ID: 182043 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 Kazimir Gallery, Chicago private collection, Paris Starmach Gallery, Cracow Grażyny Kulczyk collection, Poznań DESA Unicum, 2022 private collection, Poland Opinions authenticity verified in consultation with Andrzej Szczepaniak accompaniing certificate of authenticity by Wiesław Borowski Literature Stażewski, exhibition catalogue, Krzywe Kolo Gallery, Warsaw 1961, cat. no. 24, n.a. (list of works) Henryk Stażewski - reliefs, exhibition catalogue, Starmach Gallery, Krakow 2001, e.g. Henryk Stażewski. Economics of Thinking, [ed.] Wiesław Borowski, Małgorzata Jurkiewicz, Joanna Mytkowska, Andrzej Turowski, Foksal Gallery Foundation, Warsaw 2005, p. 116 (ill.) Paweł Leszkowicz, GK Collection #1, Poznan 2007, p. 123 (ill.) Everybody is nobody for somebody, exhibition catalogue, [ed.] Blanca Gómez Mosquete, Madrid 2014, pp.184-9 (ill.) Exhibited Stażewski", Krzywe Circle Gallery, Warsaw, 1961 Henryk Stażewski - reliefs, Starmach Gallery, Krakow, February 2001 Henryk Stażewski - reliefs, CSW Ujazdowski Castle, Warsaw, 2001 GK Collection #1", Art Stations, Poznan, 18.03.17.06.2007 Everybody is nobody for somebody', Fundacio .n Banco Santander, Madrid, 15.02-15.06.2014 More information In 1959 Henryk Stażewski began a new stage of his work. At that time he began working on reliefs with different layouts and geometric forms, in which he used a characteristic set of figures: rectangle, square, asteroids (a rectangle with concave sides) and forms of beeps. Geometric shapes were introduced into the composition together or individually. In Stażewski often repeated the same figures and disturbed the harmony by using the slanting elements that added the impression of movement in the image. The relations between the forms were different, and the composition of the paintings was different. At that time, the artist created a series of monochrome or two-colored reliefs in which, apart from maximum color reduction, he also sought to reduce the importance of the painting form. Thanks to the simplifications used, the most important problem was the construction of the image. During that time, Stażewski placed wooden blocks on a flat background and then covered everything uniformly saturated with color. The thickness and shape of the forms used had a decisive impact on the artistic expression obtained. The result of the work on this series of reliefs was the exhibition organized at the end of the year in the Krzywe Koło Gallery in Warsaw, which also appeared on which there was a white relief no. The artist then presented 26 reliefs created between 1960 and 1961. Most works are white reliefs, in which the building element was a form similar to the longitudinal section of the barrel. The exhibition was extremely important for the later artistic career of Stażewski. In the catalogue for the exhibition Wiesław Borowski speaks, among others, about the white colors of reliefs: The whiteness of the paintings is explained to be the result of the synthesis of many colors used by the artist previously. It is possible to explain how justified the need to avoid traditional color solutions, how modern knowledge of the lack of a real existence of a material object, of the absence of unambiguous incentives provided by the object impressed by its colour. Finally, it is possible to explain the need to achieve the unity of the colour picture. Not the supremacy of the selected color tone, but the full and neutral unity of the image. Wiesław Borowski, [in:] Stażewski, catalog of the exhibition, Krzywe Koło Gallery, Warszawa 1961, p. 5