Word: tadeusz
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Dates: during 1960-1969
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...Poland's Tadeusz Kulisiewicz, 62, Best Foreign Graphic Artist. One of the most representational of the exhibitors, Kulisiewicz is frugal of line, heavy in mood. His most striking work: The Dance of the Old Men, in which three aching figures hobble about on canes, their grotesque heads stiffly bobbing in rhythm...
This week Manhattan's Museum of Modern Art opened a show of 15 modern Polish painters that clearly showed that modern Poland has at least two artists-Jan Lebenstein, 31, whose inch-deep art brut figures are powerful and evocative; and Tadeusz Kantor, 46 (TIME, April 6, 1959), whose impassioned swirls and splashes resemble France's Mathieu and the late Jackson Pollock-as good as any modern currently troweling paint on canvas, plus another baker's dozen far more varied and versatile than most...
...present standing almost in spite of itself. In its early years after World War II, the new Red regime was all for more and bigger posters; but like other countries in the Communist bloc, it favored the ponderous style of social realism. The graphic artists, led by the late Tadeusz Trepkowski, insisted on the right to something they called "emotional symbolism"- a highly charged, individual style in which mood and metaphor, as well as words, would carry the message. The artists won, and the poster became the first art form to be liberated from the long night of Stalinism...
...rain of German grenades. A classical pianist plays a melancholy tune on his sweet-potato pipe and quotes Dante's Inferno as his mind ebbs away "in the lake's foul bottom, plunged in dung"-a grim elegy that unites all their fates. A sentient lover (Tadeusz Janczar) pretends "we're walking in a dark and fragrant wood," but his blonde, tough-minded mistress (Teresa Izewska) shatters the illusion tersely: "We're walking in [obscenity]." The lovers' goal is to reach the sewer's outlet in the Vistula; when they do, a grid...