To gain entry to the Academy of Fine Arts in Munich in 1911, Zofia Stryjeńska enrolled under her brother Tadeusz’s name and adopted a male appearance. This deception allowed her to study painting at a time when the institution barred women, marking the beginning of a prolific career that defined Polish art deco.
Formative Years and Deception
Born in Kraków in 1891, Stryjeńska was the eldest of six children. She attended Leonard Stroynowski’s private art school before enrolling at the Maria Niedzielska fine art school for women, graduating with honors in 1911. Following her year of secret study in Munich, she returned to Kraków. Her professional breakthrough occurred in 1912 when the Kraków Society of Friends of Fine Art exhibited 18 of her watercolor illustrations of Polish Fables, subsequently receiving critical acclaim from magazine contributor Jerzy Warchałowski in 1913.
Interwar Production and Recognition
Marriage to architect Karol Stryjeński in 1916 introduced her to a circle of artists and writers, including Stanisław Ignacy Witkiewicz. While living in Zakopane during the 1920s, she produced a significant volume of work. Her reputation solidified at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, where her six paintings depicting rural life and seasonal cycles earned five World Trade awards. During the 1930s, she contributed interior designs for the Polish ships Batory and Pilsudski and Wedel’s café.
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Stryjeńska operated within the Rytm art group and drew inspiration from the Young Poland movement. Her output was diverse, encompassing tempera paintings, lithographs, posters, toys, tapestries, and stage designs. While she frequently depicted pre-Christian Slavic mythology and folklore, such as in her Slavic Idols cycle, she remained a lifelong Catholic. Her portfolio included illustrations for Monachomachii and works such as Pastorałka, Four Polish Dances, and various sacramental themes.
Exile and Later Life
Following the Second World War and the installation of a communist regime in Poland, Stryjeńska emigrated to Geneva to join her children. She lived modestly, receiving minor support from her family and an award from the Alfred Jurzykowski Foundation in 1974. Despite a decline in her health due to syphilis, which impaired her vision, she remained culturally attached to her homeland. She died in 1976 and was interred at the Cemetery of Chêne-Bourg.
Literary Contributions
Beyond visual arts, Stryjeńska engaged in writing to support her children's education. She authored a contemporary etiquette handbook under the pseudonym Professor Hilar. Her personal memoir, Bread Almost Every Day, provided insight into her life and was published posthumously in 1995. Her writing style was noted for its rich vocabulary and fluid prose.
Fast facts
- Born: 1891, Kraków
- Died: 1976, Geneva
- Education: Academy of Fine Arts, Munich
- Awards: Officer of the Order of Polonia Restituta
- Burial site: Cemetery of Chêne-Bourg
- Primary medium: Tempera
Questions readers ask
Did Stryjeńska accept the Golden Laurel of the Polish Academy of Literature?
No, although she was nominated for the award in the 1930s, she declined the offer.
Why was her work ignored in post-war Poland?
She refused to join the state-controlled Polish Writers' Union, leading authorities to dismiss her contributions and withhold royalties for the reproduction of her art.
Achievements
- Officer of the Order of Polonia Restituta
