Witkacy and the Portrait of the Avant-Gard
Explore world’s largest exhibition of portraits and avant-garde creations by Stanisław Ignacy Witkiewicz - Witkacy
The collection includes four self-portraits by Witkacy. On the left is the earliest known self-portrait, created by the artist at the age of 21.
Self-Portrait (1930-04) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Self-portrait
To understand Witkacy’s work, one must also know his biography. What he created and how he created it was closely connected to the time, place, and people he encountered along his journey.
Self-Portrait (1930-04) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
One thing is certain — his life was as fascinating as the works he left behind. Witkacy was born on 24 February 1885 in Warsaw. In 1890, due to his father's illness, the family moved to Zakopane.
Witkacy's father
Stanisław Witkiewicz, was also a painter, but also a co-creator of the Zakopane Style and an art critic.
Portrait of mother (1912) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
His mother
Maria Witkiewiczowa, née Pietrzkiewicz, was a music teacher. His parents adhered to rather specific upbringing principles. They wanted to raise an individualist, and they certainly succeeded.
Did you know that Witkacy never went to school?
His parents provided him with home schooling.
Landscape with Red Trees (1911) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Landscape with Red Trees
The young Witkacy was searching for his artistic path. His early work includes expressionistic paintings, still lifes, and landscapes.
Landscape on the Atlantique (1925) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
In 1905, he began painting studies at the Academy of Fine Arts in Kraków, where he trained in the studio of the painter Józef Mehoffer. He never completed them.
The young artist was neither taught nor accustomed to systematic education. He preferred to travel, learn about, and experience art in other countries.
Australian Landscape (1918) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Australian Landscape
In June 1914, Witkacy's friend, Bronisław Malinowski, took him on a trip to Australia. Witkacy was delighted by the different culture and lush nature. This was very inspiring for the young artist, also in his later work.
The journey was interrupted by the outbreak of the First World War.
In June 1914, Witkacy's friend, Bronisław Malinowski, took him on a trip to Australia. Witkacy was delighted by the different culture and lush nature. This was very inspiring for the young artist, also in his later work.
Jupiter Transforming Himself into a Bull (1921) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Jupiter Transforming Himself into a Bull
A true work of art is one that meets the criterion of Pure Form. There was one condition: the process of the artist creating the work and the process of the viewer perceiving the work must evoke "metaphysical feelings".
Unfortunately, the modern world has not been able to fulfil this condition. According to Witkacy, humanity, in its pursuit of prosperity, has lost the ability to feel ‘metaphysical feelings’ and thus to commune with true art.
Portrait of a Man (1934) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Witkacy abandoned pure art to set up a one-man portrait business in 1925.
‘The client must be satisfied. Disagreements excluded.’
And this was the motto of the portrait company's regulations, with which every client was obliged to familiarize themselves
"Any sort of criticism on the part of the customer is absolutely ruled out. The customer may not like the portrait, but the Firm cannot permit even the most discreet comments without giving its special authorization (...)"
Portrait of Maria Witkiewiczówna (1918) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
"If the Firm indulged in the following luxury:
listening to customers' opinions, it would long ago have gone crazy."
Portrait of Maria Nawrocka (1925-07) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Maria Nawrocka
Type A:
"Relatively the most spruced up type. Rather more suitable for women`s than men`s faces. Slick execution, with a certain loss of character in the interests of beautification, or accentuation of prettiness."
Portrait of Włodzimierz Nawrocki (1926-04) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Włodzimierz Nawrocki
Type A portraits showed almost the full figure of the model. They were the largest, had rich backgrounds, and were the most expensive. The base price was 350 zł, with an extra one-third added for showing the neck, shoulders, and hands.
Portrait of maria and Włodzimierz Nawocki (1926-02-12) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Maria and Włodzimierz Nawrocki
This is a unique and rare portrait, in which a combination of two types from the regulations occurred. Maria is depicted in Type A, while her husband is in Type D.
Portrait of Aleksandra Totwen (1933-01) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Aleksandra Totwenowa
Type B:
"More emphasis on character but without any trace of caricature. The technique is more dab-like than in type A, with a certain touch of character traits, which does not preclude prettines in women`s portraits. Objective attitude to the model."
Portrait of Irena Domaniewska (1924-12-31) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
The price of a Type B portrait is 250 złoty. It is significantly smaller than a Type A portrait and depicts only the model's bust. The client could not suggest the background; that remained at the artist's discretion.
Portrait of Irana Krzywicka (1925-11-17) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Irena Krzywicka
Portrait of Włodzimierz Nawrocki (1925) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Włodzimierz Nawrocki
Type B + d
"Intensification of character, borderong on the caricatural. The head larger than actual size. The possibility of preserving prettiness in women's portraits, and even of intensifying it.
Portrait of Ludwik Kotulski (1929-03) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Type B+d portraits are quite rare, but very interesting. For an image of this type, the client had to pay 150 złoty.
"Sooner or Later
On dark bordeaux paper
I'll have to get down
To your fizzog, you clown!"
Portrait of Maria Nawrocka (1929-04-19) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Maria Nawrocka
This is one example of the "stand" portraits, in which the model's image is placed on a pedestal.
Portrait of Zofia Jagodowska (1930-01) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Zofia Jagodowska
Type C, C+Co, Et, C+H, C+Co+Et, etc.
"These types, executed with the aid C2H5OH and narcotics of a superior grade, are at present ruled out. Subjective characterization of the model (...) Approaches abstract composition, otherwise known as Pure Form."
Portrait of Ludwik de Laveaux (1929-01) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
It is true that Witkacy liked to experiment with various kinds of substances, more or less psychoactive. However, it would be untrue to call the artist a drug addict. A doctor (also a close friend of the artist), Teodor Białynicki Birula, always participated in séances using drugs.
Although Type C portraits were the most numerous, according to the Portrait Factory’s regulations, they were true works of art and could not be commissioned or purchased. They were priceless.
Portrait of Zofia Jagodowska (1931-10-03) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Zofia Jagodowska
Many of these portraits went to Witkacy's close friends, most often as a gift or a thank you for attending a gathering. The new owner could neither sell them nor separate them.
Portrait od Lena Iżycka (1925-07) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Lena Iżycka
Type D:
"The same results without recourse to any artificial means"
Portrait of Bohdan Filipowski (1928-10) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Since the opportunity to create Type C portraits didn’t always arise, Witkacy sometimes agreed to commissions for “copies,” which is why there are very few of them. These were the cheapest portraits offered, costing 100 zł each.
Portrait of Teodor Białynicki-Birula (1928-02) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Teodor Białynicki Birula
A doctor and close friend of Witkacy. He also pursued painting as an amateur. It was he who oversaw the drug experiments. In this way, he studied the influence of substances on the artist's behavior, while the artist examined their impact on the final form of the painting.
Portrait of Irmina Bajer-Nowowiejska (1939-06-14) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Irmina Bajer - Nowowiejska
Type E:
"and its combinations with the preceding types. Spontaneous psychological interpretation at the discretion of the Firm. The achieved effect may be the exact equivalent of that produced by types A and B - the manner by which it is attained is different.
"It brings no great delight, To paint a guard all day and night"
Witkacy created quite a number of Type E portraits. Their price ranged from 150 to 250 zł. By choosing this type, the client fully entrusted the artist’s creative freedom and did not know the final result until the very end.
Portrait of Leszek Komorowski at 7 years (1932-02-19) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Portrait of Leszek Komorowski at 7
Type B + E (children's type)
"Because children can never be still, the purer type B is in most instances impossible - the execution rather takes the form of a sketch"
Portrait of Teresa Glod (1932-05) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
It’s no secret that Witkacy disliked children and didn’t enjoy painting their portraits. They were too restless, and it was hard to read character from their young faces.
That’s why the artist often scared them or made funny faces. Such a portrait cost 150–250 zł.
Beyond the regulations:
Price lists with menus prepared for a carnival ball in Zakopane in 1926. Witkacy's biting comments regarding customs are noteworthy.
Portrait of Helena Białynicki-Birula (1930-10-03) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Witkacy was known for his eccentric behavior and sharp wit. He liked to provoke and shock the public with his views and artistic output. His social life was full of anecdotes and unconventional situations.
Portrait of Stanisław Totwen (1930-10) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
In the face of the approaching World War II and the entry of Soviet troops into Poland, Witkacy committed suicide in Jeziora in the Polesie region. He was accompanied by Czesława Oknińska, who also attempted to take her own life but was saved.
Composition - Lady Macbeth (1933-01-07) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
Composition - Lady Macbeth
Portrait of Anna Nawrocka (1925) by Stanislaw Ignacy Witkiewicz (Witkacy)The Museum of Central Pomerania in Słupsk
The life of Stanisław Ignacy Witkiewicz - Witkacy was dynamic, full of intense relationships and artistic explorations, but also marked by personal dramas and eccentricity.
His contacts with other artists and intellectuals had a significant impact on his work, and his colorful personality made him one of the most fascinating figures of the Polish avant-garde.
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