fundacja andrzeja wróblewskiego

“Substantial Realism” – the work of Wróblewski and Jarema at the Starak Family Foundation’s Art Space


Until April 12, Andrzej Wróblewski and Maria Jarema’s work is on view at the “Substantial Realism” exhibition at Spectra Art Space. Art critic Mieczysław Porębski and artist Tadeusz Kantor first wrote on the concept of “substantial realism” in the 1946 manifesto “Pro domu sua”. The formula of this realism allowed to convey abstract and ambiguous themes, but also took into account the achievements of the avant-garde. Wróblewski and Jarema are perceived as artists working in this genre. A great advantage of the exhibition is that it shows, for the first time, several of Wróblewski’s paintings known so far only from black and white reproductions created by the artist himself, e.g. a study of women with children entitled Mothers’ Martyrdom. For the first time after more than two decades one can also see a painting from the Executions series, the 1949 Wedding Photograph, Married Couple with a Bouquet. Every first Saturday of the month at 11.00 visitors can take part in curatorial tours of the exhibition and the Anna and Jerzy Starak’s collection.

Spectra Art Space, Warsaw, Bobrowiecka 6
The exhibition is open from 19.12.2019 to 14.04.2020, Monday-Friday 16-18, Saturday-Sunday 11-18

The works of Paul Klee accompanied by Andrzej Wróblewski’s abstractions


“Late Klee”, an exhibition of more than thirty works by Paul Klee from the artist’s family collection is on show at London’s David Zwirner. As the organisers say: „The works on view in Late Klee highlight the diversity of Klee’s visual practice during this period. The play of line is evident in a series of graphic works that are often highly diaristic and personal. His skill as a colourist is presented through entirely abstract compositions as well as figurative pieces depicting mask-like faces.”

Among the presented works are the well known and frequently exhibited: Diagram of a fight (Schema eines Kampfes] (1939), Untitled (Grids and wavy lines around “T”) [Ohne Titel (Gitter und Schlangenlinien um “T”)] c. 1939 and Torture (Folter) 1938. The exhibition is accompanied by a display of early abstractions by Andrzej Wróblewski from private European collections, most of them shown for the very first time. Such juxtaposition provides an opportunity to confront Wróblewski’s work with his texts discussing inspirations including Klee’s oeuvre.

‘[…] In addition, my approach to favourite artworks is not constant but shifting. Modern art in particular is rich enough a field to provide me with a suitable ‘mentor’ at every stage of my inner life. Among the painters for whom I have a so-called weakness are Chagall, Klee, early (‘photographic’) Surrealism, the first phase of Cubism, Cézanne – each for a different reason. I like art that is extremely emotional and poetic, or extremely intellectual, one that does not seek the painting, but a method of creating creation. I like the changing artist’s personality – like that of Picasso, for instance – and the modern practice that consists not in creating individual masterpieces, but a certain succession of works that, taken together, constitute an equivalent of today’s masterpiece.’

David Zwirner, 24 Grafton Street, London
Exhibition from March 6 to April 18, 2020.

Andrzej Wroblewski. Constantly Looking Ahead


National Museum in Krakow, Main Building, Gallery of 20th Century Polish Art
September 21, 2012 – January 1, 2013
curators: Magdalena Ziółkowska, Wojciech Grzybała


“I want to step out of myself, go beyond, achieve the impossible, fulfil an unprecedented task, realise a vision, create an absolutely convincing painting, build it with decisions” – wrote Andrzej Wróblewski (b. 1927, Vilnius – d. 1957, Tatry Mountains), in January 1948. This daring statement by a twenty-one-year old, who had been forcibly relocated from Vilnius in the spring of 1945, heralded the arrival of a new, original formula of realism in post-war painting. Wroblewski took up studies at the Painting and Sculpture Department of the Academy of Fine Arts in Krakow as well as in art history at the Jagiellonian University. Contrary to many other artistic positions typical of the 1940s, his intense practise, spanning less than a decade, is characterized by an unfailing belief in the power of art. Wróblewski was an astute commentator of contemporary artistic life. His numerous press articles and reviews discussing art with distinctly socialist content testify to his interests and hesitations, as well as his disappointment with, and involvement in the doctrine of Socialist Realism.

The title of this exhibition is a quotation from the artist’s writings of January 1948. Wróblewski’s statements are filled with the conviction that art and life are, in fact, intertwined. Their tone conveys a constant tension between the creative act and the mundane character of functioning amongst fellow artists in Krakow. Constantly Looking Ahead brings together works from the collection of the National Museum in Krakow, as well as other Krakow-based public and private collections, into four interwoven narratives. At their heart lies the search for a new language of modern art: from the calls for sharp, incisive works that let one “take a look inside man” (as Wróblewski put it, commenting on the 1st Exhibition of Modern Art in 1948), to the declaration of a Socialist Realist art from the early 1950s, one that is clear, subject-oriented, devoid of distortion and has a “broad social impact” and photographic character “in line with the imagination of the mass viewer”. The last months of Wróblewski’s practice, in the late autumn of 1956, saw the artist arrive at yet another new formula of figurative painting, in which the universe was no longer constructed from geometrical figures, nor built through the efforts of the members of the Academic Union of Polish Youth. It was a universe of inner tension, constant exploration, and struggle with oneself.

As well as highlights from the collection of the National Museum in Krakow, such as Room II (Chairing I) (1956), (Composition) [Family] (1957), Child with Dead Mother (Son and Dead Mother) (1949), and Poznań Execution ((Poznań) Execution II) (1949), the exhibition features a number of works that are less frequently on view in the Gallery of 20th Century Polish Art. These include the canvas Blind Woman a la Velazquez [Blind Woman] (1956), gouaches on paper from the years 1956–1957 Untitled (Women and Cow), (Trees and City), woodcut (Juggler) from 1946, sketches for the Execution series, as well as Mourning News, a series prepared in 1953 following the news of the death of Stalin, and a number of lithographs exploring Socialist Realist themes.

The exhibition, along with the accompanying publication, is the first project by the Andrzej Wróblewski Foundation, established in January 2012, prepared on the invitation of the National Museum in Krakow. It accompanied the closed seminar with international guests organised by the Museum of Modern Art in Warsaw and Prof.  Éric de Chassey from Villa Medici in Rome.