Bakos Katalin - Manicka Anna szerk.: Párbeszéd fekete-fehérben, Lengyel és magyar grafika 1918–1939 (MNG, Warszawa–Budapest, 2009)

III. KATALÓGUS - 1. VÁROS. TÖMEG. GÉP. A MODERNIZMUS ARCAI - - Az építés eszméje. Konstruktivizmus és geometrikus absztrakció

why Szczuka, in his friends' and his own name, challenged Słonimski to a duel of pistols (and got wounded in the leg). After 1957, after the Paris exhibition 50 Years of Abstract Painting, Berlewi returned to Geometric Abstraction. Henryk Stażewski created throughout over 70 years of his long life, and always remained faithful to the mission of a work of art as "an organic unity of the parts making up the plastic form, i.e. line, colour, mass, and light".

11 In the first half of the 1920s, he created Textural Compositions, totally abstract, with diversified rough surfaces. He often added sand to the paint or employed a kind of collage, using wood, glass or iron. The changing texture always created a sort of construction, it was a structural element, which contributed to a greater cohesion and clarity of the composition. What Stażewski did at the end of the 1970s was not exactly recreating, but copying his earlier works. A preserved Textural Composition, done in oil, was created between 1930 and 1931 and is in the collection of the Art Museum in Lódź. In 1977, the artist made its replica as a serigraph. In 1928, Karol Hiller created his own printing technique called heliography. Firstly, the artist painted abstract compositions using gouache and tempera on a glass plate or celluloid film, then he sometimes scratched or engraved the plate, he rubbed the paint in using his hands, and finally he made a photographic print from the plate. In the 1930s, Hiller started to gradually depart from Geometric Abstraction, and turned towards dimorphic forms. Leopold Lewicki was a co-founder of the first Grupa Krakowska [Cracow Group] active in the years 1931-1937. The members of this group managed to combine a high artistic level of their works with a leftist world view. Unlike Warsaw's Czapka Frygijska [Phrygian Cap], the Cracow artistic circle, besides dealing with social issues, continued their formal experiments, deriving from the avant-garde experiences. On the one hand, Lewicki created paintings and prints from the life of a capitalist city, with its rallies, strikes, funerals etc., and on the other hand, he made multidimensional abstract compositions, extremely dynamic, with elements of the real world. Tadeusz Cieślewski Jr. had very little to do with the Avant-garde. He was Władysław Skoczylas's student, he belonged to the "Ryt" Association of Graphic Artists, he mainly engaged in woodcut, and the most important subject of his work was the Warsaw Old Town, where he lived together with his wife and parents. He devoted much effort and energy to propagating artistic engraving. Even his Suprematist Composition bears another title: Longing for Light. Suprematism was an artistic movement created by Kasimir Malevich, a Russian of Polish descent. The essence of this trend was the supremacy of a pure feeling in a painting and - consequently - using basic geometric forms, without any references to reality whatsoever. Despite the fact that on the whole Cieślewski created figurative art, he was also an intellectual, and his Suprematist composition fully realizes Malevich's principles. I/26. BÉLA UITZ (1887-1972) Leaf from the portfolio "Analysis", 1922 Linocut on silk-paper; 20.4 x 27.6 cm Inv. No. G. 69.25 I/27. BÉLA UITZ (1887-1972) Leaf from the portfolio "Analysis", 1922 Linocut on silk-paper; 20.4 x 27.6 cm Inv. No. G. 69.31