While in Masindi, you made drawings and watercolors. Some hours later, gunfire was everywhere, and bullets were jumping across the unpaved road in front of my house, making a strange noise and leaving a trail of dust. They call for distance and measure, and if there are several, they want to touch and complete themselves in the utmost simplicity of reading, as we ask, “What is it?”.

And it made sense to me that Paul Klee exclaimed after traveling to Africa, “Color and I are one!”. He did not use color to reinforce pictorial references, but worked one color, line or shape against another—like energy against energy. I would look at the jungle and it would turn from purple to almost red, and then back again to blue-green or black. New York Auction 30 September 2020. Edition of 12. JK: Your ability to draw at a young age was very impressive. At 20 years old with 7 shillings of pocket money, I rode a bus to London to the Home Office, Division of Education. Stanczak received his MFA from Yale in 1956 and began teaching at the Art Academy of Cincinnati the following year. Here are some of my challenges when I begin a work. I also visited the museums in London and was particularly fascinated by Francis Bacon’s Mad Dog. Galerie Polan Julian Stanczak (-) | Les 7 oeuvres | Commander Reproductions De Peintures | Acriliques, Acrylique Sur Toile . Barbara Stanczak, “Julian Stanczak Prints from 1970–1971,” notes sent to the author. I managed to get into the Borough Polytechnic and was enrolled in the Department of National Teacher Certification majoring in Book Illustration. In England we lived in barracks that had been used by the British Air Force. “Julian,” she remembers, “had his vision set on squares, wiggles, and contrasting visual beats.”14, Nineteen sixty-four marked a turning point: Stanczak was appointed professor of painting at the Cleveland Institute of Art and had a solo exhibition at the Dayton Art Institute, where Martha Jackson saw his work. In Italy a landscape is known as "paesaggio.". In 1981, Stanczak produced several series of screenprints with Vistec Graphics in Rochester, New York, each made up of variants on this compositional type. JK: Did you realize that you had artistic talent? JS: Yes. JS: This woodcut might be a reflection on my past, but not a realistic illustration.
Even though I wasn’t of legal age, I joined the Cadets—the youth organization of the Polish Army in Exile—because they had provisions. Sam Mansour Associate Specialist, Head of New Now Sale New York +1 212 940 1219. We as a family had to find a place to live and work, and since we had close relatives in the US, the American Embassy in London offered us the possibility of joining them. Stanczak, e-mail to the author, 11 Jan 2018. He later acknowledged that the essential characteristics of his creative vision were influenced by the vibrant patterns of the local fabrics, the rhythms of the music, and the dramatic colors of the landscape: “First the rain would come, and then the sun after the rain. According to Barbara, Wahl liked optical art and “enjoyed doing the art prints with Julian” as a break from his regular business.28 Incorporating reflection into the art object itself, the six prints of Superimposed Series (1973) were printed in black or white on gold or silver stainless-steel foil, and mirror the viewer within the image.29 (To preserve the fragile foil the prints are mounted on plastic sheets.) JK: It’s rather remarkable that at such a young age, you already were so sensitive to the behavior of light and were intrigued by how atmospheric conditions such as fog or haze affect our perception of color and form, an interest that would continue as you matured. Pour en savoir plus sur Julian Stanczak, parcourez ses œuvres dans les galeries, ses lots mis aux enchères, son actualité et bien plus encore. Julian Stanczak, Waving Down from Eight Variants (1970), screenprint, 25 x 25 inches. Finding the printer compatible, Stanczak produced and self-published three further groups of prints with Vistec—Sequential System Series, Composite Series and Nocturnal Hue Series—exploring further the possibilities of the grid structure.36 All are distant cousins of Albers’s nested squares, in which color blocks are complicated by small grids and divided diagonally into four triangular sections. I chose the Slade School of Art, but after two months, I was kicked out, accused of being “too Continental,” and of having no respect for British tradition. JK: The Germans invaded Poland in 1939, and the world you knew began to unravel. The geometric forms and linear rhythms that are hallmarks of his mature style can already be seen in a black-and-white woodcut from 1948 or ’50, African Village, in which simple dwellings are reduced to architectural blocks and planes differentiated by contrasting linear patterns.9 Slightly later woodcuts such as Female Figure (1953) and Still Life (1953) define abstracted figures and objects through patterns of repeated marks—dots, dashes and longer strokes, not unlike those of his later paintings. Since I was too young to participate, I simply enjoyed their playing greatly. Dynamische Anordnung in blau und orange, 1969. artnet et nos partenaires utilisent des cookies pour vous fournir des fonctionnalités et des applications sur nos sites afin d’optimiser votre expérience de navigation en ligne. I could not go back to Poland because it was Communist and my father had served in the Polish Army under British command, which fought against the Russians and Communism. By making this commitment, these notes become a protection against further interferences from my mind, which always wants to talk me out of this single possibility. An Interview with Artist Julian Stanczak (1928-2017) May, 2012. However, my right arm was deteriorating badly, and I was in great pain, so I deserted and followed my brother and the orphanage to Teheran by hiding in the engine room of the boat that was transporting them. The panel is covered with layers of gesso until smooth. What we remember primordially, we remember through shapes. I do not recall anyone around me making drawings, but I witnessed a lot of dexterous abilities such as building, construction, forming three-dimensional things as well as how to be totally efficient.

I enjoyed observing the haze of the lifting dew and the fog of the rainy season. I enjoyed book illustration because it required scrutiny of observation, discipline and control. The two young artists also read Richard Arnheim’s 1954 book, Art and Visual Perception: A Psychology of the Creative Eye, but Albers wanted students to train themselves by directly observing what happens when colors interact rather than by studying scientific color theory.12 Both Stanczak and Anuskiewicz developed abstract painting styles that focused on optical perception and effects, but Anuskiewicz’s compositions were grounded in geometry, while Stanczak’s expressed sensations of nature. Julian Stanczak, Red and Green from Filtration Series (1977), screenprint, 33 x 33 inches. Mar 20, 2016 - See related links to what you are looking for. In order to survive, we had to split up. It was here that Stanczak received his first art lessons. JS: Yes, a Polish artist named Henryck Frudist took an interest in me and other youth in the camp in order to cultivate in us an interest in the visual arts. The Filtrations series, again printed by Wahl, glow with the light and atmosphere of the natural world: cool lavender, hot ochre, warm red, icy gray, serene blue. Ideas about the work’s divisions—the number, density and placement of lines—will endlessly bombard my mind, and usually a couple of them will want to be executed now. I did not know English well—I tried to learn a Polish-English dictionary by heart—and I had no money or connections. JK: Here is an example of a work you made during this course of study. Biography. Why this deportation?

There you suffered from serious illnesses and terrible abuse, and the latter would result in the permanent loss of the use of your right arm. Julian Stanczak, Composite – Brown with Purple from Composite Series (1981), screenprint, 30 x 30 inches. In 1969, Martha Jackson and Denise René, whose gallery represented Stanczak in Paris, each commissioned a series of screenprints in the hope of enlarging his market.18 Stanczak made small acrylic paintings on Masonite using the gesso and tape method he used in his large paintings, which technicians would then translate into screenprint. The René editions, co-published by René and Hans Mayer, were printed at the Hans Mayer Gallery in Krefeld by local printers, while the Jackson Twelve Progressions (and four variants, of which only artist proofs exist) were executed by Edition Domberger in Stuttgart in editions of 90.22 (The edition size for the René/Mayer group of eight, and for another group of seven prints made in Krefeld in 1970, are somewhat larger because the prints were shared by the two European galleries.)23.
So my art is not one of whim or trial and error. At Yale he did not make prints but focused on color, which would become a defining element of his art. In many of my studies, the rhythmic use of line or shape refers to weather and light. Were you exposed to the arts growing up? Black and white are loaded with information and suggest, with their many cues and symbols, the world around us. Tape is applied according to the drawing. Julian Stanczak, Nocturnal Hue from Nocturnal Hue Series (1981), screenprint, 30 x 30 inches. (134.6 x 160 cm) Painted in 1967. In 1948 the family was able to move to England,4 and Stanczak, now twenty years old, enrolled at the Borough Polytechnic Institute to study art.5 Two years later, when the family relocated to Cleveland, Ohio, to be near relatives, Stanczak continued his studies at the Cleveland Institute of Art, graduating in 1954. In art school, I would ask my professors questions about color, but they were more interior decorators than artists who could give me the type of information I sought. Finally, he was disturbed by the reflections caused by the glass on framed prints.27.

My teachers accused me of having no personal style. Maybe no, as I pushed myself hard. While in London, I met the artist, Victor Passmore, and a Polish court artist, Felix Topolski, and they impressed me greatly with their technical abilities. Barbara, who watched the process firsthand, remembers Domberger as a bit rigid but the kind of perfectionist that Stanczak appreciated: “The work they did was immaculate.”24, Both sets of prints survey the compositional formats of his paintings at the time—lines, rectangles, circles in luminous atmospheric colors—but the new medium and reduced scale forced him to simplify his shapes and reduce the number of colors. My questions were based on personal observations. Please feel free to contact us if you have any questions. Interned at a Soviet labor camp in Siberia, he suffered abuse and disease that caused permanent loss of the use of his right arm. So three-dimensional thinking and doing were dominant in both my exposure and performance. Before I could dream of a personal future, I found myself in a concentration camp. Julian Stanczak Follow. Believing strongly that the quality of the finished work depended on the artist’s hand and eye, he preferred not to use assistants for his paintings.

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