This Friday we had the pleasure to present the “Homoanonymus” exhibition at a private viewing in Pennsylvania in a beautiful setting of a traditional American house from the turn of the 19th and 20th centuries! Our deepest thanks to emart gallery for hosting us and of course, thank you to all estimated guests for coming and sharing with us (and with the artist!) those amazing moments! See you soon!
To finish the visit to the States with a bang, we have for you one more surprise: on March, 25th, a private viewing of the “Homoanonymus” exhibition (a different version from the NYC exhibition!) will be organized in Pennsylvania, jointly by the Roi Doré Gallery and emartgallery. The invitation will be out soon! And we will of course share with you how the evening went, so stay tuned!
Discover our Homoanonymus collection
Tonight took place the exhibition “Homoanonymus” by Artur Majka, organized by the Gallery Roi Doré at the Kurier Plus Gallery in New York City! We would like to thank all those who made this event possible – especially the staff of the Kurier Plus Gallery and Mrs. Zofia Klopotowska from the Kurier Plus Weekly. We are also very grateful for our estimated guests, thanks to whom this exhibition was such a success that it will be extended (more details soon). Our deepest thanks go also to those who share with us (and so our followers) their photos of this event: Eva Harley, Mieczyslaw Mietko Rudek, and Janusz Skowron. More great news coming soon, stay tuned!
We are proud to announce the creation of the very first collection of NFT artworks. It is a part of the “Homoanonymus” collection – a comprehensively prepared project, born in 1997 and consisting of a rich collection of works and a well-thought-out artistic philosophy. Learn more about the project
The genesis of the “Homoanonymus” project was a series of sketches, representing human silhouettes, started by Artur Majka after his arrival in Paris. Those swift sketches of people spotted on the streets, or in the subway were the starting point to his artistic research – their stylized forms can be found in his paintings, sculptures, or jewelry. To quote Majka: “The Homoanonymus came to be in the Parisian subway. Among the crowds, I searched, and still do, for justification of its final abstract form. (…) There was no time for a deep psychological portrait, just a swift sketch, a “note” of the passer-by, an anonymous human. In the end, a human is always the same, no matter the skin color, hairstyle, facial expression or psyche.” The “Homoanonymus” project consists currently of drawings, paintings, sculptures, jewelry, but also of less conventional forms, following Majka’s research and experiences, such as art books, and also NFTs.
The first series of NFTs from the “Homoanonymus” collection is limited to 500 artworks. They are available on OpenSea. It is the very first collection of NFTs artworks created by one artist on purpose – designed as NFTs from the very beginning – and so comprehensively prepared from the artistic and theoretical viewpoint. Therefore, it is an excellent opportunity for collectors wishing to enrich their collections with artistically interesting works, with equally significant investment potential.
It’s tomorrow! Together with the Oger-Blanchet Auction House, we invite you to the Ecole de Paris auction, which will take place tomorrow (Thursday, December 9th). Among many other interesting lots, you will find there two very special works from the collection of the Galerie Roi Doré: a painting by Ladislas Slewinski, and a small, but very interesting landscape by Tadé Makowski.
You may bid on internet or by phone. The auction starts at 3 pm CET.
Tadeusz / Tadé MAKOWSKI, Landscape with Trees, c. 1908
Made in oil on a wooden panel, this painting witness of the beginnings of Tadeusz Makowski’s artistic career – on the one hand his relationship with Wanda Poplawska, one of the most important figures in his life at that time and on the other hand of his first steps as an artist. This painting is all the more interesting since the artist painted landscapes all his life, so the stylistic changes perceived through these works allow us to follow the evolution of his artistic approach and thought. Even in this early work, we already find a certain skill in the use of color and in the freedom of artistic gesture: despite the small format and the very conventional subject, the brushstrokes are vigorous, powerful even. The painting is signed in the lower right corner. It is not dated, but the style and especially the dedication on the back allow us to place it around the year 1910 (probably closer to 1908). The dedication is inscribed on a piece of paper glued on the back of the painting. The paper is somewhat damaged, but we can decipher – at least partially – the inscription which reads: “Szanownej Pani Popławskiej (…?) Makowski” (to the esteemed Mrs. Poplawska (…?) Makowski).
The work is therefore dedicated to Wanda Poplawska (primo voto Glinkowa), whom Makowski met during his studies at the Academy of Fine Arts in Krakow. A painter herself (she took painting lessons at the Academy, but also with Wladyslaw Slewinski – in 1910 she went to his home in Doëlan in Brittany), she was a faithful friend of Makowski. He often visited her at her property in the Ukraine and above all, it was thanks to her and her husband Cezary that the artist was able to make two trips to Italy in 1907 and 1908. As he himself wrote: ” I can’t talk about my friend Wanda Poplawska, whom I met during my studies at the Academy of Fine Arts, in any other way than with great gratitude. She helped me get my health back by paying a doctor when I was battling severe pneumonia. Thanks to the generosity of Wanda and her husband, I was able to accompany them on two trips to Italy, which was a great experience for me. For the first time the world of high art opened up to me, and I remained under its influence for a long time. Then I came to the conclusion that in order to evolve as an artist, I had to go somewhere that would provide me with new inspiration. »(1)
Wanda Poplawska therefore played a decisive role in the career of the artist, since it was thanks to her that he was able to admire for the first time the great works of art of the past and this confrontation reinforced him in the choice of his path: the departure for the West (the decision he put into execution very quickly, since already in 1909 Makowski left Poland to settle in Paris).
As for the unidentified word of the dedication, it seems to indicate the location, probably the place where Makowski was at the time of the realization of the work and/or the subject of the work. It may be a place in Ukraine, near Wozel (also known as Worzel or Worcel) – the property of Cezary and Wanda Poplawska where Makowski spent the whole summer of 1908 and where he was able to meet, among others, the poet Boleslaw Lesmian (whereas Wanda was very close to painters, her husband, literary critic and poet, surrounded himself with poets and he was at one time Lesmian’s mentor). Their house in Wozel was therefore a real artistic center where artists and intellectuals – emerging and established – of the time met. We also know, thanks to the memories of Cezary Poplawski, that Makowski liked to go at sunrise with his easel and his brushes in the forests surrounding Wozel’s property: “in the morning (…) he would go into the forest and put himself in the middle of the immense pines” (2). The painting therefore seems to represent precisely one of those moments that Makowski was able to spend at sunrise in the Poplawski’s forest, immortalized forever in a painting dedicated to Wanda.
The work thus testifies – as much by the subject it seems as by the dedication – to the gratitude of the artist towards the one who was his friend and his benefactress. It can also be compared to another painting, created in the very much of the same context: The portrait of the lady in a pink dress which can be admired today in the National Museum of Warsaw and which represents… Wanda Poplawska, painted by Makowski around the time he made his two trips to Italy.
The portrait, dated 1908 (approx.), was therefore, most probably, made around the same time as the small landscape in question – both therefore date from the time when the relations between Makowski and Poplawska were very friendly and bear witness to the artist’s gratitude to Wanda, who allowed him to discover the vast world and to glimpse the possibilities it offered.
Makowski left Poland in 1909 – so in all probability shortly after painting the landscape in question – and he passed first through Munich and then settled in Paris. There he discovered the art of the great masters of the past during his visits in the Louvre, befriended Apollinaire – always ready to take young artists under his wing and particularly well disposed towards newcomers from the East. He also admired the paintings of Cézanne and witnesses the birth of cubism. He became close to Slewinski, with whom he took refuge in 1914 after the start of the First World War. If the styles of two artists were very different – Slewinski, much older, was close to the School of Pont-Aven, Gauguin, the Nabis; Makowski seemed at the time more influenced by Cézanne and Cubism – Slewinski’s home offered him on the one hand a haven of peace after the gloomy and disturbing Paris of the war and on the other hand, no doubt, a much needed intellectual and artistic stimulation. But after two years their differences became too much to bear and and Makowski left. He stayed on the Brittany coast for some time, but returned to Paris again in 1915. Makowski’s style – and career – would subsequently experience many ups and downs. If he draws his inspiration left and right, going from the beginnings of Cubism to the Flemish masters, he quickly develops his own style, very characteristic and easily identifiable. But the starting point of his travels and his artistic research was in a way his friendship with Wanda Poplawska, who took him on his first trips abroad and introduced him to great art. In this sense, the small landscape is a work of great historical importance: it bears witness not only to Makowski’s artistic development, but also – perhaps even above all – to his career.
(1) Maria Milanowska, Tadeusz Makowski o sobie samym (article published online on the niezlasztuka.pl platform).
(2) Jaroslaw Marek Rymkiewicz, Lesmian. Encyclopedia, Sic! Publishing House, Warsaw, 2001, p. 401-402.
Text: Magda Sawczuk Ph.D.