Signed on the back on paper pasted on board p.g.: mbogusz 1967, next to an up arrow mark
♣ to the auctioned price in addition to other costs will be added a fee resulting from the right of the artist and his heirs to receive remuneration in accordance with the Act of February 4, 1994 - on Copyright and Related Rights (droit de suite)
Marian Bogusz (Pleszew in Greater Poland 25 IV 1920 - Warsaw 2 II 1980) after graduating from high school in 1939 participated as a volunteer in the September campaign. In 1941-19445 he was imprisoned by the Nazis (Mauthausen concentration camp). After the war he settled in Warsaw. Until 1948 he studied at the Academy of Fine Arts in the studios of Prof. J. Cybis and J. Sokolowski. Already during his studies he joined artistic life as an organizer of its various forms. He was a co-founder of the Young Artists and Scientists Club, active in1947-49, the first avant-garde art center in post-war Warsaw. At the turn of 1948/49, he took part in the First Exhibition of Modern Art in Cracow. In 1955, together with Zbigniew Dlubak (whom he met in Mauthausen) and Kajetan Sosnowski, he founded the Group 55, considered the ideological and artistic counterweight of the "Arsenal." In the same year he joined the Crooked Circle Gallery, which he ran until 1965, making it an important center of the "modern" movement. In 1963 he was the initiator of the Koszalin Plein-Air in Osieki, which for the next 15 years reached the rank of the leading international meetings of artists and scientists in Poland. Bogusz's painting has gone through a path from the surrealist abstract compositions of the 1940s, through the figurative, symbolic representations of the Group 55 period (inspired by Bertolt Brecht's theater, music, science, etc.) to the works of the mature period of the 1960s and 1970s, which are maintained in the discipline of geometric abstraction. In parallel with painting and the aforementioned experience of spatial forms in open space, Bogusz has been involved in theater stage design from the beginning, realizing many productions in theaters throughout Poland. He was a co-author of visual settings for events, exhibition pavilions, monumental decorations (such as the ceramic frieze at the 10th Anniversary Stadium in Warsaw). He wrote, gave speeches, and repeatedly acted as the spiritus movens of artistic debates.
