Wladyslaw Hasior, BRUSSELS HOUSE CHAPEL, 1989

45.5 x 30.0cm - own technique on the back: dimensions 45 x 30 x 7, next to the author's label: Chapel | Domowa | from Brussels | 1989 | Hasior Wł.



Every religion gives such a powerful load of experiences and feelings that no artist can resist them," we read in Thoughts on the Art of Wladyslaw Hasior (edited by Z. Zegadlowna, Nowy Sacz 1986, p. 59).

Wladyslaw Hasior photographed the shrines many times during his travels. He "collected" them during his numerous car trips in Poland and abroad. Perhaps the real shrines he encountered became an inspiration for the compositions he created using the assemblage technique. At the end of 1989 and the beginning of 1990, Hasior was in Brussels for the opening of a joint exhibition with Belgian artist Camiel van Breedam and, as art historian Marzanna Raińska recalled, he took his "entire studio" with him at the time and kept creating new exhibits.

♣ A fee will be added to the auctioned price in addition to other costs, based on the right of the creator and his heirs to receive remuneration in accordance with the Act of February 4, 1994 - on Copyright and Related Rights (droit de suite).

Władysław Hasior (Nowy Sącz 1928 - Cracow 1999) studied at the Department of Sculpture at the Academy of Fine Arts in Warsaw from 1952 to 1958. In 1959 he was on a scholarship in Paris and traveled around Europe. From 1957 to 1968, he worked as a teacher at the Kenar School in Zakopane, and from 1970 to 1971, he worked as a stage designer at the Polish Theater in Wroclaw and as a teacher at the Academy of Fine Arts there.


From 1957 he created assemblages. In 1960 he began casting hollow forms in cement, which became the basis for some of his later outdoor productions. In 1965 he created the first "Banners" and the first designs for a glass monument (never realized). Since 1969, the artist combined some of his monumental realizations with ephemeral actions ("Golgotha", Montevideo 1969, "Sunny Chariot", Sodertalje 1972, "March of Banners" and "Flaming Birds", Łąck 1973, "Fiery Birds", Szczecin 1975, "Flaming Birds" II version, Koszalin 1977, "Flaming Banners", Drawsko Pomorskie 1979). He realized monuments: "To mountain rescuers", Zakopane 1959 (together with students of the Kenar School), "To the memory of executed hostages", Zakopane-Kuźnice 1964, "playing" monument on the Snozka pass near Czorsztyn 1966, "To those who fought for Polishness and freedom of the lands of Pomerania", Koszalin 1978-1980.

In parallel with the "Banners" and monumental realizations, he created intimate sculptures. In the 1980s and 1990s, "Portraits", executed in assemblage and collage techniques, became a significant strand of the artist's work. He has exhibited since 1961, and was associated with the international Phases movement from 1963 to 1965.

A breakthrough in the dissemination of his art outside Poland was a solo exhibition at Moderna Museet in Stockholm in 1968. He participated in the Sao Paulo Biennale in 1965 and 1971, the Venice Biennale in 1970, the Edinburgh Festival in 1972 and other prestigious international reviews. He lived and worked in Zakopane, where the author's gallery of his works - now a branch of the Tatra Museum - has been operating since 1985.

In 2005, the National Museum in Warsaw organized a major monographic exhibition of the artist.