User:LVY72/Leon Dolzycki

Leon Dolzycki (20 March 1888 – 20 September 1965) was a Polish painter, theatrical scenographer and pedagogue best known for his formist studies and landscapes.

Life
Leon Dolzycki was born in Lwow, the son of Adam and Anna Dolzycki. Between 1907 and 1912, he studied at the Academy of Fine Arts in Krakow under professors Jozef Unierzynski, Ferdynand Ruszczyca and Jozef Mehoffer. During these years, he was awarded Academy medals for landscape painting as well as for his nude portraits. Starting in 1910, he travelled extensively in Europe, visiting Berlin, Monachium, Dresden, Vienna as well as parts of Italy. In 1912, he spent time in Paris, where he was particularly interested in the works of the impressionists, Cezanne and cubism. (He would visit Paris again in 1925, 1928, and 1933.)

In 1911, Dolzycki started teaching art, initially as a teacher of drawing at the gymnasium level. He set aside this work between 1914 and 1916 to fight in the Polish Legions. By 1918, however, he returned to teaching fine art in Lwow.

From 1919 to 1922, he lived in Poznan and worked as a scenographer for the Poznan Grand Theatre. In 1922 he moved to Bydgoszcz.

Themes
Between 1936 and 1939 he lived in Warsaw and taught at the Adam Mickiewicz gymnasium.

Przed wybuchem I wojny światowej rozpoczął pracę jako nauczyciel rysunku w szkołach średnich. Podczas okupacji hitlerowskiej brał udział w tajnym nauczaniu. Po wojnie wykładał w ASP w Krakowie i Wyższej Szkole Sztuk Plastycznych we Wrocławiu.

Legacy
Tworzył graficzne portrety, martwe natury, pejzaże i sceny sportowe. Współpracował z wieloma grupami artystycznymi m.in. Formistami, Plastyką, Awangardą, Jednorogiem i Nową Generacją. Wielokrotnie prezentował prace na wystawach zbiorowych i indywidualnych.

Dolzycki was born in Lviv. His early career was marked by portraits of Viennese celebrities, painted in a nervously animated style. He served in the Austrian army in World War I and was wounded. After the war, he continued to develop his career as an artist, traveling across Europe and painting the landscape.

Kokoschka had a passionate, often stormy affair with Alma Mahler, shortly after the death of her four-year-old daughter Maria Mahler and her affair with Walter Gropius. After several years together, Alma rejected him, explaining that she was afraid of being too overcome with passion. He continued to love her his entire life, and one of his greatest works The Tempest (Bride of the Wind) (at left below), is a tribute to her.



Kokoschka had much in common with his contemporary Max Beckmann. Both maintained their independence from German Expressionism, yet they are now regarded as its supreme masters, who delved deeply into the art of past masters to develop unique individual styles. Their individualism left them both orphaned from the main movements of Twentieth Century modernism. Both wrote eloquently of the need to develop the art of "seeing" (Kokoschka emphasized depth perception while Beckmann was concerned with mystical insight into the invisible realm), and both were masters of innovative oil painting techniques anchored in earlier traditions.

Works

 * Żałobnica (1922),
 * Kolarze (1956),
 * Szermierze (1961)