Collection

Painter, teacher. A painting graduate of the Academy of Fine Arts in Kraków and art history graduate of Jagiellonian University, he was a professor at the Warsaw academy for many years. He debuted in 1955, showing his works at the legendary Against War, Against Fascism exhibition at the Warsaw Arsenal, and established relations with the Krzywe Koło Gallery in Warsaw shortly thereafter. After beginning with figurative paintings, he swiftly focused on the abstract, driven by his fascination with cubism. His art references informel art as well as constructivism. He participated in the 5^th São Paulo Art Biennial. He lives and works in Konstancin-Jeziorna.

Stefan Gierowski subjects his works to reduction and order. In creating Painting DCLXXIV, he limited his work to a rendition of light and colour inclusive of related subtexts—while yellow-orange is associated with warmth, sun and rest, it is also the colour of venom, symbolising turbulent inner life and an undulating amplitude of feelings and emotions. The content is not in any way disrupted. Even the title of the painting is synthetic, subjected to the discipline of painting. Gierowski has been using Roman numerals in naming his abstract paintings since 1957.

Stefan Gierowski’s watercolours bring to mind notes from painting experiments, created with an intent to express a fascination with Oriental calligraphy. When working on the painting currently in the Foundation’s collection, the artist used the paintbrush in a way allowing observation of all brushstroke lines, the play of colours, the way individual hues affect one another. The work is a masterpiece of composition: the simple measure of dividing the image into two non-geometrical zones creates a space where the artist tests the capacity of lyrical abstraction.

Stefan Gierowski’s watercolours bring to mind notes from painting experiments, created with an intent to express fascination with Oriental calligraphy. When working on the painting currently in the Foundation’s collection, the artist used the paintbrush in a way allowing observation of all brushstroke lines, the play of colours, the way individual hues affect one another. The work is a masterpiece of composition: the simple measure of dividing the image into two non-geometrical zones has creates a space where the artist tests the capacity of lyrical abstraction.

Stefan Gierowski’s watercolours bring to mind notes from painting experiments, created with an intent to express fascination with Oriental calligraphy. When working on the painting currently in the Foundation’s collection, the artist used the paintbrush in a way allowing observation of all brushstroke lines, the play of colours, the way individual hues affect one another. The work is a masterpiece of composition: the simple measure of dividing the image into two non-geometrical zones has creates a space where the artist tests the capacity of lyrical abstraction.