UK
Back

Bust of a Woman in a Hat

Kazimiera Malaczynska-Pajzderska

  • Bust of a Woman in a Hat 1
  • Bust of a Woman in a Hat 2
  • Bust of a Woman in a Hat 3
  • Bust of a Woman in a Hat 4
  • Bust of a Woman in a Hat 5
  • Bust of a Woman in a Hat 6
  • Bust of a Woman in a Hat 1
  • Bust of a Woman in a Hat 2
  • Bust of a Woman in a Hat 3
  • Bust of a Woman in a Hat 4
  • Bust of a Woman in a Hat 5
  • Bust of a Woman in a Hat 6
Basic information
ID
С-I-631
Author
Kazimiera Malaczynska-Pajzderska
Name
Bust of a Woman in a Hat
Date of creation
1909
Country
Austro-Hungarian Empire
Culture
Contemporary times
Technique
moulding
Material
plaster
Dimensions
68 x 50 x 40 cm (height x width x depth)
Related items
ФотоЛКГ_С-I-631
Additionally
Type
sculpture
Genre
portraiture
Plot
Portrait bust
Provenance
National Gallery of Lviv (until 1940)
Information about author
Author
Kazimiera Malaczynska-Pajzderska
Author in the original
Kazimiera Małaczyńska-Pajzderska
Artist's lifetime
1879–1959
Country
Austro-Hungarian Empire, Poland
Biography
Kazimiera Malaczynska-Pajzderska (4 March 1879, Buchach, now Ternopil region – 12 April 1959, Poznan, Poland) was a sculptor and painter, one of Lviv's most prominent representatives of women's art. The artist was born in Buchach to the Hellersperg-Heller family. In 1897 (according to other sources in 1903), she married Marian Antoni Malaczynski. The artist began her studies in 1898–1900 at the Public Drawing and Sculpture Hall of the Lviv Art and Industrial School and continued them in 1901–1905 with S.-K. Ostrowski and A. Popiel at the private school of S. Batowski, A. Augustynowicz and O. Reichan. In 1906 and 1908–1910 (1906–1913, according to other sources), Kazimiera Malaczynska-Pajzderska studied in Paris at the then popular Académie de Colarossi and the Académie des Grandes Chaumières under Antoine Bourdelle and Felix Charpentier. In 1911 (1913, according to other sources), she married, for a second time in Paris, to the art historian Nicodemus Pajzderski. Until 1913 she signed her works as "K. Małaczyńska" or "K. Heller-Małaczyńska".
Her studies in the artistic centres of Europe led her to experiment with forms, inspired by the Impressionism of Auguste Rodin and the work of Antoine Bourdelle, based on an understanding of the ancient heritage. In 1909, she debuted at exhibitions in Lviv with portraits of Lviv President Tadeusz Rutowski, the Polish modernist poet Jan Kasprowicz, the writer Mariia Levytska and other vigorously modelled sculptures. In 1910, she exhibited a portrait of Adamo Didur as Mephistopheles and the composition "Orphans" at the Paris Salon. In the same year, three plaster sculptures by Kazimiera Malaczynska-Pajzderska were exhibited at the General Exhibition of Polish Art in Lviv: a sketch "Orphans", "Male Torso" (probably a portrait of the painter Tadeusz Pruszkowski), and "Young Man Thinking" (1910). At the Autumn Exhibition in Lviv, eight of the sculptor's works were exhibited, including "Bust of Dobrusia Lesnevych", a portrait of the actor Adamo Didur as Mephistopheles, and "Bust of the philosopher Kazimierz Twardowski" (1911). At the exhibitions in Lviv in 1911, Kazimiera Malachynska-Paizderska presented a bust of Wladyslaw Mickiewicz (1911), a portrait of Marusia Horetska of the Mickiewicz Family (1911), a bust of Helena Bielska (1911), and a portrait of the singer Fernandez (1911). Before leaving Lviv for Poznan in December-January 1912–1913, she exhibited two plaster sculptures, "Portrait of Wladyslaw Witwicki" and "Portrait of Mrs P.". The artist's participation in exhibitions at the Zacheta Gallery in Warsaw (1912) and at the Society of Friends of Fine Arts in Poznan (1915) was successful.
The artist is known for her sculptural portraits – female, lyrical, and male, with the expression of intellectual, creative, strong-willed nature. A sign of her individual style was psychologism, the reproduction of changing moods, behind which one can see the essential, impressionist pictorial form, asymmetry of compositions, expressive movement, impulsive, almost painterly surface treatment, echoes of the Secession, modernised classics and the archaic. Plaster, marble, and bronze embodied creative ideas, and the artist created dozens of works, primarily heads, torsos, and busts.
In the works by Kazimiera Malaczynska-Pajzderska, made between 1908–1912, the maturity of her creative style, the accuracy of psychological features and the authenticity of the reproduction of individual characteristics attract attention. The play of light and shade and the sculpture's connection with the environment are ensured by the "painterly" contours, the indistinct linearity, and the natural inclination of the heads. In addition to portraits and three-dimensional compositions, the artist created several reliefs between 1908 and 1913.
In the field of painting, Kazimiera Malaczynska-Pajzderska created oil portraits, floral still lifes, and landscapes of Lviv, Volyn and Italy, influenced by Impressionism.
From 1913, the artist worked mainly in the portrait genre in Poznan. The medal of the General Regional Exhibition of 1929 and the figurative bas-reliefs on the monument to the Sacred Heart of Jesus Christ (1932, 1939) belong to this period.
Object description
"Bust of a Woman in a Hat" ("Portrait of Irena Krowczynska-Majewska"/?/) (1909) is one of the most Secessionist and whimsical works created by the artist between 1908 and 1911. The influence of the Secession in its original Lviv modification is evident in the figurative treatment of the work, which reflects the Belle Epoque lifestyle, aestheticised, imbued with music, theatre and refined secular communication. The aesthetic tastes of the early years of the century are reflected in the fashionable dress with a stand, a fur boa, and a high hat with a narrow brim. The Secessionist inspiration is evident in the differentiated, whimsical plasticity: the silhouette's elastic lines, the mannered head tilt, and the varied rhythm. The impulsive, almost painterly treatment of the surface, which creates a shimmering play of light and shadow, reveals the influence of Impressionism. The peculiarity of the sculpture lies in the reproduction of a momentary state of mind and individual features of the portrait. The figurative and plastic resonances of the bust with the female images of Luna Drexler's "Seated Woman" ("Lady with Hat", "Rest") (1907), "Lady with Fox Fur" ("In a Box") (1910) are indicative. The bust was exhibited for the first time at K. Malaczynska-Pajzderska's debut exhibition in Lviv in 1909, along with 13 other works, demonstrating the sculptor's professional maturity and bringing her recognition.
Inscriptions
Signed and dated on the back: "Lwów VI 909 / K. Małaczyńska".
Legal regulation
Borys Voznytskyi Lviv National Art Gallery

Other

Link copied