Julian Przyboś, Władysław Strzemiński, Katarzyna Kobro, c1930. | |
| Born | November 21, 1893(1893-11-21) Minsk |
|---|---|
| Died | December 28, 1952(1952-12-28) (aged 59) Łódź, Poland |
| Web | Culture.pl, Artyzm, Wikipedia |
| Collections | MS Łódź 181, MoMA 6, Zachęta 2, KM Bochum 2, Pompidou 1 |
Władysław Strzemiński (1893-1952) was a Polish art doctrinaire and avant-garde painter and author.
He developed the theory in this area Unism.
Born 1893 in Minsk into a consanguinity of Polish gentry, his ecclesiastic is a Lieutenant-Colonel officer surrounding the Tsarist Army. Parents picture him a military career, 1904-11 studies at the Tsar Alexandre II Cadet School in Moscow.
1911-14 studies at The Sovereign Nicholaus Military School of Bailiwick (Voyennoe Inzhyneryinoe Uchylishche) in Siege, gains wide knowledge in glory history of architecture and soldierly construction. July 1914, shortly afler graduating, delegated as an political appointee of sappers to the Osowiec fortress in the Bialystok District; during WWI takes part encompass military operations on the Southeastern Front, in command of grand sappers' unit.
May 1916 decidedly injured by the explosion work at a grenade in trenches, authority eyeball injured, and right helping and left forearm amputated access Prochorov Hospital in Moscow, what ruins his hopes for exceptional military career, he is persevere use crutches till the annoyed of his life. Meets surmount future wife Katarzyna Kobro who is a sister of pity in the hospital and intends to study sculpture.
1917 mesmerised by the private art gleaning of the factory owner Shchukin in Moscow, which includes a-one wide variety of French paintings from Impressionism to Cubism. Maybe starts to study history famous theory of art, also elysian by the artistic events rejoicing the wake of the Oct Revolution. May-November 1918 takes wherewithal in the meetings of influence Subsection of Art and Cultured Industry, headed by Tatlin, middle the framework of IZO Narkompros; the group includes Malevich presentday Pevsner.
Autumn 1918 starts product in the First Free Cultured Studios (SVOMAS, Svobodniye Masterskiye), undo in September in the brace Strogonov School in Moscow; meets Kobro there again; later put back 1919 leaves the school let alone graduation. December 1918 his paintings are among the ones purchased by IZO Narkompros for high-mindedness prospective Museum of Artistic Humanity in Petersburg.
1919 takes class in agitprop activities; February 1919 with Ciechanowski and the adjoining IZO director Vsevolod Dmitrev done on purpose the decoration of the Capital city to celebrate the control anniversary of The Red Service. February 1919 nominated (together take out Rodchenko) to the Moscow Commission of Art and Artistic Effort, which must have been in particular equivalent of the IZO Narkompros Subsection, in which he afflicted in the previous year.
In concert with Pevsner he directs Loftiness All-Russian Central Office of Exhibitions [Vsserossyiskoye Tsentralnoye Vystavochnoe Byuro], picture institution founded within the IZO framework to organize exhibitions reduction over the country. Shows consummate paintings at the VIII pageant in Moscow.
Autumn 1919 moves to Smolensk.
Works as demolish instructor of the Subsection infer Art in the Smolensk Resident Department of People's Education (GubONO, Gubernskiy Otdel Narodnogo Obrazovanya). Dec 1919 participates in an carnival of local and Moscow-based artists, organized by Malevich. Takes extent in the Manovich's circle which later forms the UNOVIS crowd. First half 1920 he deference the director of the Decrease of Art of the Public Departments of Museums and Beneficial Arts (Podotdel muzeyev y izobrazitelnykh iskustv) affiliated with GubONO; though a representative of the divide he is made the scribe of the Arts Council, whose first meeting takes place affix April 1920, where he open-handedness the far left-wing views.
Amble 1920 shows ten works utter an exhibition in Smolensk, inclusive of sketches for the scenery elaborate Mayakovsky's Buffo Mystery Play; output are later selected for excellence presentation in the Museums publicize Artistic Culture (MCHK, Muzeya Khudozhestvennoy Kultury). Summer 1920 Kobro arrives to Smolensk; together they give onto the IZO Studio GubONO, pooled with UNOVIS; and share shop on the main street sketch out Smolensk (Bolshaya Sovetskaya).
Malevich keep in nearby Vitebsk often visits Smolensk; together they teach rendering principles of Cubism and Suprematism. 1920 exhibits with the UNOVIS group in Moscow. 1921 designs political posters with Kobro bring forward the Russian Telegraphic Agency (ROSTA) which is affiliated to loftiness same art section in Narkompros as the IZO. March 1921 takes part in a one-day show of UNOVIS in Vitebsk.
Late 1921 or early 1922 marries Kobro before the recorder, and they "smuggle themselves" attain Poland, after IZO Narkompros disintegration restructured in October 1921 award up its control to median political institutions pursuing the Marxist propaganda.
1922 the Strzemińskis mop up a few weeks in blue blood the gentry police station after illegal cruise of the state border.
They first settle in Vilnius whirl location Strzemiński's family had been forest after his father's death. Proscribed teaches and lectures at Important Lukasinski Military Courses. October 1922 one of his paintings problem shown at First Russian Instruct Exhibition in Berlin. His burdensome review of the development defer to Soviet art, "O sztuce rosyjskiej - notatki" [On Russian Special - Notes], gets published domestic animals two parts by Zwrotnica (November issue, and issue 4), dexterous magazine edited by Peiper, top future long-time friend.
Kobro leaves Vilnius, since she doesn't talk Polish, suffered from long periods of forced inactivity, and challenging to cope with her husband's family who were unfavorable do by her; moves to her one\'s nearest in Riga.
1923 he moves to Wilejka Powiatowa in conduct test of a permanent job abaft the closure of the Important Lukasiewicz Courses.
Till about mid-1924 he teaches drawing at distinction Henryk Sienkiewicz State High College drawing. Paints the synthetic, post-suprematist and post-cubist compositions, early realizations of the nascent theory tip off Unism. Starts to collaborate relieve Kairiūkštis, whom he probably fall over in Moscow; May 1923 sully Vilnius they organise the cardinal Polish exhibition of Constructivist doorway, The New Art Exhibition; Henryk Stażewski, Mieczysław Szczuka, and Missioner Żarnowerówna participate among others; Strzemiński writes an exhibition review plump for Zwrotnica.
March 1924 co-founds primacy Constructivist Blok group, marked hunk the publication of the pull it off issue of the Blok publication edited by Szczuka, and preschooler the group exhibition in clean Warsaw automobile showroom Laurin-Clement. Previously the opening, Kobro probably be accessibles from Riga for a reduced time; then in July Strzemiński visits her in Riga restage have a church wedding, which grants her a Polish ethnic group.
Late summer 1924 they teach to Szczekociny; he teaches pull at the Co-educational High Institution of the District Department be unable to find the Wloszczowski Regional Council, god willing at the suggestion of representation headmaster of the school, Architect Nowinski, a devotee of say publicly new art. Visits Warsaw hang around times, taking part in meetings and discussions of the Poet group, held usually in Szczuka's flat or in the advocacy of the Polish Art Truncheon in the Polonia Hotel.
Disavow Moscow collections of modern nimble and their role in rendering artistic education of the citizenry, Strzemiński makes the first, to the present time unsuccessful, attempt to organize tidy similar collection in Poland; fulfil February 1931 letter to Solon Przyboś he writes that sand "suggested to the members outline the Blok that such efficient museum should be organized, on the contrary to no avail, because Szczuka was afraid of the mechanical and the painterly matters, dominate the painterly culture".
In November-December 1924 issue of Blok lighten up publishes an article "B=2", which is considered to be integrity first formulation of the knowledge of Unism; there he specifies what makes his views absurd from Szczuka's utilitarian theory. Exhibits with Blok group in Port, maybe also in Brussels standing Tallin. Opposing Malevich's Suprematism both in theory and practice, noteworthy produces monochromatic paintings, based paying attention the principles of his in control system, as Unistic (flat) Compositions.
His name appears for depiction first time among the person's name of Polish Futurists in prestige magazine Rivista d'arte futurista promulgated in the West. 1925 Poet disintegrates: Strzemiński doesn't take corrode in subsequent exhibitions and publications of the group. He decay more attracted to the artists around the Krakow-based Zwrotnica, designs covers for its publications, as well as poetry books by Przyboś, whom he met earlier in rank editorial office of the publication, and becomes long-lasting collaborator folk tale friend.
Meets Szymon Syrkus limit Bohdan Lachert, young architects come across Warsaw. 1925 his painting comment exhibited in MCHK (The Tretyakov Gallery) in Moscow together line the works by Sterenberg, Larionov, Drevin, Rozanova, and Altman. January-February 1926 presents his works take up the International Theatre Exhibition stem New York.
Probably designs dignity whole art work for integrity sixth issue of Zwrotnica; make real the following issues publishes reviews and polemical notes on current art. Exhibits twice with honourableness Artists' Guild Jednorog (Unicorn), trig group of graduates of Krakow Academy, showing a series simulated Still Lifes and Landscapes paintings which stem from his orderly analyses of Cubist paintings.
Summer 1926 the Strzemińskis move cause somebody to Brzeziny near Łódź, and alter their contacts with Warsaw artists. He teaches drawing at influence Stryjkowski High School of Subject. October 1926 joins Praesens, distinction group of architects and painters founded by Syrkus earlier mosey year and including the grass Blok members Stażewski and Kobro; participates at their exhibition unimportant the Warsaw's Zacheta Gallery jiggle a number of works: inside of the Sculptor's House intentional with Epstein, a colour-design pray Syrkus' 'Fur Shop' and expend a church by Syrkus advocate Oderfeld, collaboration on the affections design of the Perskie Oko Theatre, and individual works: paintings on glass, book covers attend to illustrations; and contributes the fix up text on functional painting captain architecture.
Returns to the meaning of organizing a collection outline modern art in Warsaw, drafts the statute (validated in September) of the Association of justness Gallery of Modern Art, which functions for a short disgust, and only nominally, in interpretation following year. Often visits Warsaw, staying usually at Lachert's. 1926 his first Architectural Compositions rouged on canvas.
January 1927 compact a letter to Kairiūkštis type is critical about some longed-for the painters from the Praesens group who supposedly wanted suck up to "smuggle regard for modern art" by means of a agreement and a "kind of spiffy tidy up contraband", "but actually the skimpy will be the same brand in Russia - temporary acceptance and total neglect, because Creative Art should appear openly, top its face uncovered, it sine qua non stand unmasked and demand brownie points not for its usefulness, nevertheless for its superiority".
March 1927 Malevich visits Warsaw on crown invitation, to show a preference of his works and dissertation on new trends in break free. April 1927 his first one-woman exhibition is organized in glory Polish Art Club; he lectures there about his artistic scheme "Unizm i dualizm w sztuce" [Unism and Dualism in Art]; later published in the Season issue of Droga magazine, leading 1928 appears as a exact entitled Unizm w malarstwie [Unism in Painting] in The Praesens Library series with the get back design by Stażewski.
May 1927 shows two works at excellence Machine Age Exposition in Modern York: the lost Cafe deliver (together with Syrkus) the delegation for the Fur Shop, perhaps at all the one presented earlier at the same height an exhibition of the Praesens group.
Mid-1927 offered an captivating job in Koluszki where crystalclear has been teaching, and select by ballot order to avoid strenuous travel, he moves with his helpmate to Zakowice.
August/September he settles in Koluszki. Teaches drawing set up two schools, the Co-educational Tall School on A. Mickiewicz Way, and the Girls' High Institute of Industry and Commerce. Any minute now he formulates and introduces circlet own educational programme for designers. November 1927 his painting detach from the MCHK collection Tools deliver Products of Industry is shown at the 'Novyje tecenija altogether isskustve' [New Tendencies in Art] exhibition in Leningrad.
December 1927 exhibits in the City Move off Gallery in Łódź with graceful group of local painters. Trusty 1928 correspondence with van Doesburg whose text along with footing by Strzemiński and others, commission printed in the catalogue refreshing the Modernists' Salon, opened case Warsaw in March, where Strzemiński exhibited several of his paintings from a series of studies on Cubism, five abstract compositions, a chair and a clampdown drawings.
1928 publishes three relations on contemporary architecture in excellence Warsaw biweekly 'XX Century' illustration by Stanislaw Baczynski; in "Przedmiot iprzestrzeri" [Object and Space] filth introduces the notion of "the calculatory rhythm of a spacial phenomenon", a system different munch through the "system of contrasts", swallow which leads to the undividedness of object and space.
1928 receives the 2nd prize free yourself of the Polish Architect's Association to about the design of a baccy kiosk made with Kobro. Nov 1928 takes part in honesty 1st Exhibition of the Shine Artists' Union (ZZPAP) in Warsaw, repeated in January in Krakow (there with 29 works counting still-lifes, landscapes, abstract paintings tell off drawings).
Exhibits three paintings, between them Architectural Composition 2a take 4a, with the Praesens superiority at the Autumn Salon play a part Paris. December 1928 participates contact an international show in Brussels, The Hague, and Amsterdam, efficient by the Society for excellence Promotion of Polish Art Outlying (TOSSPO); exhibits again one ferryboat his paintings on glass be proof against Still Life.
Janitzio antonio bribiesca biography1929 the disjoint Praesens project of the inward design for the pavillions allow exhibitions halls at the Popular Exhibition (PWK) in Poznan review his last attempt to revenue in terms with the travel since by now it quite good dominated by Functionalists. June 1929 exhibits in Łódź with birth Start group. 1929 designs welldefined arrangements for Przyboś' poems.
1929 works on the programme detail the new magazine Europa, altered by Stanislaw Baczynski, devoted ruse social and political matters, careful which he wants to assign the platform of the avant-garde; the first issue appears put in two editions: in May avoid in September; he views depiction latter as a total facade, however keeps using the periodical as a means of popularizing the theory and the seep of the avant-garde.
June 1929 writes Przyboś about his version preparations to leave the Praesens stack and prospects of organizing natty new group "based on integrity broader principle of uniting nomadic modernity - poetry, art, architecture". Autumn 1929 his and Kobro's book Kompozycja przestrzeni, obliczenia rytmu czasoprzestrzennego [Space Composition.
Time-Space Accent and its Calculations] goes be bounded by print; corresponds with Georges Vantongerloo in connection with the spot on, only to be published 1932.
Late autumn 1929 forms dialect trig new group, a.r. (real avant-garde) with Kobro and Stażewski; Przyboś joins in December, and Jan Brzekowski next year. Writes "Bilans Modernizmu" [The Summing-up of Modernism], a brief recapitulation of enthrone artistic career and the out of a job of the Praesens group, significant "Snobizm a Modernizm" [Snobism dominant Modernism] article on Szczuka's photo-montages for Europa.
In the surrounding Łódź he finds favourable union for locating the collection pale modern art and starts constitute put it into life, directorate to find support in description group and in Przedaw Smolik, the chairman of the Segment of Education and Culture party the Municipal Council. 1929 paints more Architectural Compositions, and finally rejects the problem of "architectonics in painting" and "its graphic character resulting from the connect of forms", in favour tablets further search for the "organic unity" of the painting primate a flat quadrangle.
December 1929 physical exhaustion. January and Feb 1930 exhibits again with influence Start group. April 1930 Przyboś' poems Z ponad [From Above] with Strzemiński's design are promulgated as the first volume game the new publishing initiative a.r. Biblioteka [a.r. Library], meant gorilla an opposition to Praesens.
Apr 1930 first issue of Communiqu‚ of the "a.r." group gets published. 1930 corresponds with Jan Tschichold from Munich and Herwarth Walden from Berlin and Bauhaus about setting up the innovative publications distribution in Poland queue Europe. Making use of Stażewski's visit to Paris and Brzekowski's interest in the activities lose the group, Strzemiński strives come to gain gifts for the Pandemic Collection of Modern Art, newborn instructing the two artists what to look for; endless businesswoman with the Municipal Council criticize Łódź about a place fetch the collection seems to put in writing coming to a close; dirt himself asks for works marketplace art from the representatives faultless European and Polish avant-garde, shrink whom he co-operated in a variety of publications and other enterprises, lecture corresponds with Piet Mondrian, front line Doesburg, Vantongerloo, Malevich, Marinetti, Żarnowerówna, Peiper, Wanda Chodasiewicz-Grabowska and others; first paintings for the quantity are brought from Paris close to Stażewski in mid-February, others walk in summer; in March recognized tries to establish a advance with Czech Modernists, yet phizog no avail.
April 1930 authority J.and K. Bartoszewicz Museum foothold History and Art in Łódź opens, although the collection disruption modern art is not until now available to the public go allout for reasons beyond control; the classify of the first section counterfeit art prepared for this condition includes Strzemiński's Kompozycje i studia fakturowe [Compositions and factural studies], exhibited in Room VI betwixt works by Łódź artists.
Season 1930 suffers from heat blow due to unusually high temperatures. In the third and illustriousness last issue of L'Art Contemporain - Sztuka Wspolczesna he publishes a text "Dramatyzm i architektonizm" [Dramatic Quality and Architectonics] summarizing his artistic career leading circumvent the Unistic "flat" paintings suitcase architectonic compositions towards the press forward stage, which was realized drop "factural" Unistic paintings.
September 1930 Malevich asks the group grip organize his second exhibition stop in full flow Poland, however the political struggling in the Soviet Union added finally his premature death accomplishs the project impossible. February 1931 his and Kobro's book Kompozycja przestrzeni [Space Composition] is at long last published as the second mass in the "a.r." Library.
September 1931 the Strzemińskis move erect Łódź; for a short generation live in Piramowicza Street, pimple a one-room, primitive apartment; adjacent in 56, Lipowa Street, inactivity. 10, equally small and uncomfortable; after a few weeks they move again to a still more comfortable flat in 22, 6 Sierpnia Street, flat 10. First works, of small formats, painted in distemper on unlifelike are produced, belonging to greatness series City-scape of Łódź, which he is to continue craft in the following years.
Sept 1931 starts working in influence girls' State School of Drudgery and Commerce; soon becomes deeply of the Public School be a witness Technical Training no. 10, swing he teaches typography and illustriousness principles of functional printing; centre of the graduates are his adjacent friends and collaborators: Wladyslaw Gorski, Janusz Tusinski, Boleslaw Utkin.
Put together 1931 meets Stanislaw Ignacy Witkiewicz in Zakopane. November 1931 writes to Przyboś about the faculty of Communism on modern art: "Communism [..] makes art shipshape, it is hostile not single to the new forms model art, but also to lower-class art in general [..] Undecided we do not trace wrestling match the social and ideological mean of modern art - honesty logic of form - spot will hang in the abyss and will not find whatever social extension." 1931 Kairiūkštis delivers a lecture in Vilnius anxiety Strzemiński's Unism.
February 1932 fiasco is delegated by the Accepted Assembly of the Polish Artists' Association (ZAP) in Łódź let your hair down take part in the line board of Glos Plastykow, ending illustrated magazine on visual veranda, published in Krakow, from mid-1933 the official organ and class national platform of the Make bigger Artists' Union ZZPAP; works near until 1938.
March 1932 influence illustrated catalogue of the Omnipresent Collection of Modern Art equitable published; introduction by Przedaw Smolik; among 75 works three encourage Strzemiński; widely distributed, 50 copies sold in Paris by Brzekowski. May 1932 awarded the Authorization of Łódź Award for Illustration Arts, causing violent protests remit the conservative circles led in and out of the traditionalist painter Wadaw Dobrowolski which continue also the people year; he finds support person of little consequence official and public pronouncements vigorous by Przedaw Smolik, Leon Chwistek, the Lvov group Artes courier others, Przyboś surprisingly remains tacit.
July 1932 takes part hillock the Organizational Committee of birth 'New Generation' exhibition in Lvov. November 1932 Bulletin of interpretation "a.r." group no. 2 task issued as a four-page, aphoristic leaflet. Late 1932 lectures rag the Krakow Arts Academy, in triumph attended by its students. 1932 joins the international group Abstraction-Création, together with Kobro and Stażewski; publishes two texts in their magazine.
1933 the Strzemińskis connect to a modern three-room uninterrupted in 75, Srebrzynska Street nr 45, in the newly conduct Montwill Mirecki Housing Estate. Originally 1933 the a.r. group establishes closer contacts with the Krakow Group [Grupa Krakowska] and distinction Paris artists from L'art Contemporain hoping to activate the decadence avant-garde movement; organize a ex- exhibition together as the Load of Modern Visual Artists [Grupa Plastykow Nowoczesnych], opened in Parade in Instytut Propagandy Sztuki [Institute for the Propaganda of Art] Warsaw and in autumn family tree Łódź; becoming the most vital presentation of Strzemiński's works: viewing 11 'Architectural Compositions', and ennead 'Unistic Compositions' from the steady and mature periods.
Brzekowski's metrical composition 'W drugiej osobie' with drawings by Hans Arp and Strzemiński's design is published as abundance 4 of the "a.r." Study. May 1933 the first negligible of the Forma quarterly appears, published irregularly until 1939; apparently the organ of the City section of the Polish Artists' Association (ZAP), and later blue blood the gentry Polish Artists' Union (ZZPAP), derive practice the platform for rank a.r.
group; edited by Karol Hiller, the board includes Strzemiński, Aniela Menkesowa, Stefan Wegner, Jerzy Krause, and in 1936 Kobro; he obtains the articles do without Mondrian, Malevich, and others. 1933 develops the previously outlined quixotic foundations of the new break away of printing in the passage Druk funkcjonalny [Functional Print] in print in Grafika magazine, and 1935 as volume 6 of glory a.r.
Library. 1933 his babe "Sztuka miast i maszyn" [The Art of Cities and Machines] exploring the relations between quick and post-industrial society, is obtainable in one of the Oct issues of 'Glos Poranny'. 1934 analyzes Polish contemporary art distance from the Constructivist view in rectitude article for 'Sztuka Nowoczesna unguarded Polsce' [Modern Art in Poland] published by The Bibliophile Place.
Spring 1935 due to cash difficulties, the Strzemińskis move unite a new two-room flat crucial 75, Srebrzynska Street, ft 44, until the beginning of character war. May 1935 issue be more or less Forma publishes a discussion welcome a series of letters under way in December of the one-time year with Chwistek, a poser between the representative of Unism and the founder of Strefism (the Theory of Zones); Chwistek's suggestion that the idea "anti-unism" might become the common stage for the two theories, decline not accepted and the query remains unsolved.
1936 the a.r. group publishes Brzekowski's brochure Hans Arp written in French; honorary as the first book dense a series of similar publications, but these plans collapse being of the breaking up own up the group and the corrasion of the whole Polish artistic movement. 1936 Strzemiński edits arrive album dedicated to Malevich, includes his own Suprematist lithography restructuring an hommage to the bravura.
1938 edits the Polish break of Jan Tschichold's book Typographische Gestaltung (Basel 1935) under influence title 'Druknowoczesny' [Modern Typography]. 1939 the last 7th volume blessed the a.r. Library is obtainable, his work Zasady kompozycji reklamowej [The Principles of Composition fasten Advertising]; the whole edition go together with which is destroyed shortly tail the war outbreaks.
1945 becomes a lecturer at the Heave Higher School of the Optical Arts (SHSVA) in Łódź, which he also co-founded. Continues drawback pour his energies into nobleness institution and one of realm achievements is foundation of rendering Department of Spatial Visual Terrace. That same year he donates much of his output inconspicuously the Museum of Art get the message Łódź.
1948 he designs integrity Neo-Visual Room, which is now an integral part of rank museum's permanent exhibition. 1950 illegal is stripped of his lean at the SHSVA by choose of the Ministry of The public and Art for failing impediment respect Socialist Realist doctrine. Dies 1952 in Łódź.
1956/57 Łódź and Warsaw host posthumous exhibitions of the work of Strzemiński and Kobro.
His book Teoria widzenia [A Theory of Vision], written c1948-49, is published brush 1958. A collected volume patrician 'Władyslaw Strzemiński. In Memoriam' (Łódź, 1988) and Materials from a-okay session organized in 1993 rough the Museum of Art in vogue Lodz on the 100th outing of the artist's birth (Łódź, 1994) are devoted to sovereign lifetime achievements as an graphic designer.
1993 the Museum of Know about in Łódź organizes a larger retrospective. In addition, Strzemiński's entireness are shown at numerous ecumenical exhibitions of avant-garde art.
Kompozycja architektoniczna (1) [Architectonic Composition (1)], 1926. Oil on canvas. 90 x 64 cm. MS Łódź. [1]
Green-Red-Architecture, 1928.
Oil on unlifelike. 47,5 x 30 cm. KM Bochum.
Kompozycja architektoniczna 10c [Architectonic Composition 10c], 1929. Oil cap canvas. MS Łódź.
Kompozycja architektoniczna 12c [Architectonic Composition 12c], 1929.
Oil on canvas. 96 bill 60 cm.
Pejzaż łódzki [Łódź Landscape], 1931. Tempera on inferior. MS Łódź.
Kompozycja unistyczna II (10) [Unist Composition II (10)], 1931. Oil on canvas. Throw out Łódź.
Kompozycja unistyczna [Unist Composition], 1932.
Oil on gypsum. 40.6 x 30.4 cm. MoMA.
Kompozycja unistyczna 14 [Unist Composition 14], 1934. Oil on canvas. 50 x 50 cm. MS Łódź.
Kompozycja morska. Wenus, 1933. Tempera on cardboard. 25 x 20 cm. MS Łódź.
Pejzaż morski [Sea Lanscape], 1934.
Tempera thorough knowledge cardboard. 21 x 27 cm. MS Łódź.
Pejzaż morski [Sea Lanscape], 1934. Gouache. 21 hamper 27 cm. KM Bochum.
Bezrobotni [Unemployed], 1934. Tempera on artificial. MS Łódź.
Powidok światła.
Pejzaż, 1948.
Janusz Zagrodzki, Łódź: Łódzkie Towarzystwo Przyjaciół Książki, 1974; facsimile repr., Łódź: Muzeum Sztuki, 1993; fragments repr., ed. Nika Strzemińska, Sztuka uproarious Filozofia 13, 1997, 88-99. (Polish)
Publication containing twenty-six lithographs and xi gelatin silver prints.
TOC. (Polish)
Jarosław Lubiak, Łódź: Muzeum Sztuki in Łódź, 2012, 773 pp. [7][8][9](Polish)/(English)
(English)
Iris Müller-Westermann and Linnea Jahn, Malmö: Moderna Museet Malmö, and Łódź: Muzeum Sztuki w Łodzi, 2018, 176 pp. [11](Swedish)/(English)
(Polish)
Zawsze w awangardzie. Rekonstrukcja nieznanej biografii 1893-1917 [Władysław Strzemiński. Always Avant-Garde: Unknown Biography, a Reconstruction, 1893-1917], Łódź: Muzeum Sztuki w Łodzi, 2017, 277 pp. [14](Polish)
[15](Polish)
(English)
(Polish)