Henryk Berlewi (1894 - 1967) "Still Life" 1950-53, colour lithography on paper, 38 x 27.5 cm, signed and dated by pencil lower right: 'H. Berlewi 50-53' and described lower left: '3/XX', LITERATURE: - Magdalena Frankowska, Artur Frankowski, Berlewi, Gdansk 2009, Shipping cost incluing pack ange deliver to US address 20 USD and International 60 USD. Henryk Berlewi: Born in 1894 in Warsaw, died in Paris in 1967. Painter, designer, critic and art theorist, who worked in Warsaw, Berlin and Paris. He was one of the main representatives of the Avant-Garde movement of the 1920’s. Between 1904-1909, Henryk Berlewi studied at the “Ecole des Beaux-Arts” in Warsaw. Following this he studies a year (1909-1910) at the Academy of Fine Arts in Antwerp, where he continued his studies and finally, he went to Paris in 1911-1912, to complete his training at the E”cole des Beaux-Arts” and “Ecole des Arts Decoratifs”. After returning to Poland in 1913 he continued studying under Professor Jan Kuzik. Between 1918–1919, Berlewi was active in the Jewish circle of artists together with Aleksander Wat and Anatol Stern and was focusing on the iconography of the modern Jewish nation which is apparent in his paintings and graphic works of that period. The year 1921 represents a milestone in the artistic path of Berlewi: Artistic research led him to Purist art, freed of any ideology. This change can be credited to El Lissitzky, who Berlewi met and led him to Suprematism and Constructivism. In the years 1922-1923, Berlewi joined the circle of international artists in Berlin, there he met Theo van Doesburg, Viking Eggeling, Laszlo Moholy-Nagy, Hans Richter, Mies van der Rohe, and other artists of the avant-garde. He took part in the Congress of Progressive Artists, in Düsseldorf, where he established relationships with Stanislaw Kubicki and Jankel Adler. In 1923 Berlewi wrote the innovative theory of Mecanofacture which was inspired by the Russian Constructivism, the Dutch Neoplastic and the Dadaist work of Kurt Schwitters,. By the use of mechanization means of expression, and a new artistic language based on abstract forms, Berlewi attempted to give a visual representation of the contemporary world, its constant metamorphosis and the accelerating pace of life. In 1924 the theory was published as a brochure titled Mécano-Facture and in the then the ´Der Sturm´ magazine. In 1928, Berlewi moved to Paris, and abandoned the Avant-Garde aesthetic, for a return to the figurative mainly painting Nudes and Portraits. In 1954 However, Berlewi once again stood in the Avant-Garde forefront using his mécanofacture ideas this time as a pioneer of the Op-Art Movement.

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