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"Portrait of Janusz Domaniewski", 1930, pastel on paper, 66 x 50 cm, Museum of Central Pomerania, Slupsk
"Portrait of Nena Stachurska", 1930 8/IV, pastel on paper, 64 x 49 cm, Museum of Central Pomerania, Slupsk
"Portrait of Major Stefan Galynski", 24/VII 1930, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
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"Portrait of Major Stefan Galynski", 1930 24/VII, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
"Portrait of Helena Bialynicka-Birula", 1930 2/IX, pastel on paper, 64 x 48 cm, Museum of Central Pomerania, Slupsk
"Portrait of Helena Bialynicka-Birula", 1930 24/VII, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
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"Portrait of Halina Krajewska", 1930 15/VIII, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
"Portrait of Zofia Krzeptowska", 1930 IV, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
"Portrait of H. Spirzewska", 1930, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
[..] the Formist group whose members adapted certain features of Futurism, Cubism and Expresionism. The Formist movement was rather short-lived (1917-1922) but it had two excellent protagonists. One was Leon Chwistek [..] The second was Stanislaw Ignacy Witkiewicz - Witkacy, the most extraordinary individuality of artistic and intellectual life in inter-war Poland, painter, theoretician of art, writer, and dramatist. As the son of Stanislaw Witkiewicz, the creator of the vernacular "Zakopane style", he grew up in artistic household and the stimulating Young Poland atmosphere of Zakopane. In 1914, he left, together with the celebrated anthropologist Bronislaw Malinowski, for an exotic trip to Ceylon and Australia, and then spent the October Revolution in Russia. Paintings originating from the period after his return to Poland in 1918 are airless, multi-strata compositions and perverse phantasmagoria, in which threatening monsters with animal shapes wrestle in incomprehensible strife. The forms are flat and angular, and the colour is composed of loud dissonances. In 1919, the artist proclaimed his theory of "Pure Form", the first Polish philosophically grounded theory of art. In the mid-1920s, Witkacy recognised "artistic work" to be barren, and established a one-person openly commercial Portrait Firm, which produced differently priced pastels "made to order" in accordance with the wishes of the client - "smooth" portraits as well as deformed, vibrating images executed under the impact of narcotics.
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Artist’s paintings in malarze.com
Click this link to read Witkacy's biography at Culture.pl
Artist biography at Wikipedia: http://en.wikipedia.org/wiki/Stanisław_Ignacy_Witkiewicz
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