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Zbigniew Pronaszko

Zbigniew Pronaszko (1885 - 1958) was active/lived in Poland, Europe.  Zbigniew Pronaszko is known for Modernist figure and landscape painting, graphic design, sculpture, set design, teaching.

Zbigniew Pronaszko (1885 - 1958) Zbigniew Pronaszko (Derebczyn k. Jampola (Zychlin na Podolu?) 1885 - Kraków 1958) - painter, graphic designer, sculptor and set designer.

He began his artistic studies in Kiev, from where he soon moved to Krakow, in 1906-1911 to study in the local Academy of Fine Arts with Teodor Axentowicz and Jacek Malczewski.

During his studies he traveled to Vienna, Munich, Florence and Paris. He spent the years of the First World War in Zakopane. In 1917 he was a co-founder of the group of Polish Expressionists (in 1919 renamed the Formists). After the war, in the years 1923-1925 he lectured at the Faculty of Fine Arts of the Stefan Batory University in Vilnius.

Then he lived in Krakow, teaching at the Free School of Painting L. Mehofferowa, and from 1945 also at the Academy of Fine Arts. He painted landscapes, still life, figural compositions and portraits.

In the early period of his work, under the influence of Jacek Malczewski,   ...  [Displaying 1000 of 2781 characters.]  Artist bio

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Facts about Zbigniew Pronaszko

   Zbigniew Pronaszko  Born:  1885 - Zychlin, Poland
Died:   1958 - Krakow, Poland
Known for:  Modernist figure and landscape painting, graphic design, sculpture, set design, teaching

Biography from Agra Art S.A.

Zbigniew Pronaszko (1885 - 1958) Zbigniew Pronaszko (Derebczyn k. Jampola (Zychlin na Podolu?) 1885 - Kraków 1958) - painter, graphic designer, sculptor and set designer.

He began his artistic studies in Kiev, from where he soon moved to Krakow, in 1906-1911 to study in the local Academy of Fine Arts with Teodor Axentowicz and Jacek Malczewski.

During his studies he traveled to Vienna, Munich, Florence and Paris. He spent the years of the First World War in Zakopane. In 1917 he was a co-founder of the group of Polish Expressionists (in 1919 renamed the Formists). After the war, in the years 1923-1925 he lectured at the Faculty of Fine Arts of the Stefan Batory University in Vilnius.

Then he lived in Krakow, teaching at the Free School of Painting L. Mehofferowa, and from 1945 also at the Academy of Fine Arts. He painted landscapes, still life, figural compositions and portraits.

In the early period of his work, under the influence of Jacek Malczewski, he created symbolic compositions, as known from the catalogs: Bória, Pan, Zloty cielec, Bajka on death (National Museum in Warsaw) or Memoir and Portrait of a mother (National Museum in Krakow).

In a later, formist period, he drew inspiration from the paintings of Cezane, Cubism and Polish folk art. Around 1925 he became interested in coloring. In addition to easel painting, he dealt with scenography, sculpture (monument to A. Mickiewicz in Vilnius, 1922-24) and wall painting (Wawel plafonds, 1933-1934). He was a great caricaturist and an illustrator.

He exhibited since 1907; among others in Krakow, Lviv, Warsaw, Poznan, Pittsburgh (1931), Venice (1932), Paris (1922, 1928, 1937) and Vienna (1928), Brussels (1935).

He was a member of the Society. Polish artists "Sztuka" and took part in his exhibitions. He also exhibited with the groups "Zero" (1909), "New Generation" (1932), he belonged to the group "Zwornik".


Biography from Desa Unicum

Brother of Andrzej, also a painter. He studied at the Academy of Fine Arts in Kiev and in the years 1906-11 at the Academy of Fine Arts in Kraków with Teodor Axentowicz and Jacek Malczewski. In 1910 he traveled to Italy and France. He was a member of the artistic groups: Formisty and Zwornik. He lived in Zakopane, in Vilnius, where he was a professor at the Faculty of Fine Arts of the Stefan Batory University, and in Kraków, where he was a professor at the Academy of Fine Arts. His work, both painting and sculpture (including the Mickiewicz monument for Vilnius), was influenced by avant-garde European art, especially cubism, and the art of Podhale. In the 1930s, interest in color became dominant in his painting - in striving for its synthesis, he extracted a great wealth of shades from just a few primary colors. He painted


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