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    • Constructivism (3)

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Article

Ertan, Simona  

Publication History:

Published online:
31 October 2011
Collection:
Benezit Dictionary of Artists

Romanian, 20th century, female.

Active in Argentina from 1940 and in France from 1961; naturalised in 1981 in France.

Born 27 November 1923, in Bucharest.

Painter, engraver, ceramicist, collage artist. Figures, landscapes. Designs for stained glass.

Neo-Constructivism, Symbolism.

Simona Ertan took classes in drawing, painting and linoleum engraving in Bucharest from 1934 to 1940. At the end of 1940 she left with her family for Argentina and settled in Buenos Aires. There, while continuing to paint, she took classes in aesthetics and pottery. In 1950, her encounter with Picasso's ...

Article

Prinner, Anton  

Publication History:

Published online:
31 October 2011
Collection:
Benezit Dictionary of Artists

Hungarian, 20th century, male.

Active in France after 1928.

Born 31 December 1902, in Budapest; died 6 April 1983, in Paris.

Sculptor, painter, engraver, draughtsman, potter.

Constructivism.

Anton Prinner, who was probably born Anna Prinner but lived as a man throughout his life, studied painting at the Budapest school of fine arts in ...

Article

Starczewski, Antoni  

Anna Bentkowska

Publication History:

Published online:
2003
Collection:
Grove Art Online

(b Łódź, May 3, 1924).

Polish sculptor, draughtsman, painter, ceramicist, printmaker and tapestry designer. He studied at the School of Fine Arts in Łódź, graduating in 1951. His style derives from Constructivism and from the ‘Unism’ of his teacher Władysław Strzemiński. Starczewski’s complex art uses the complementary treatment in combination with different visual disciplines. He was particularly interested in rhythmic, precise arrangements of forms and signs (e.g. MF 7/9, embossed paper, 1972, see D. Wróblewska: Polish Contemporary Graphic Art (Warsaw, 1983), fig.). One of his earliest works was a large-scale ceramic bas-relief entitled Disposition for Two Hands (1959–60), a geometric abstraction made for the University Library in Łódź. In 1963 he produced his first Alphabet of sculptural signs, a series of works that led to his conception of Tables (examples of both in Łódź, Mus. A.), which he started to create in 1973. On a long, rectangular table covered with a white tablecloth, Starczewski arranged alternate rows of identical forms, such as potatoes or bread rolls (ceramic or real), or sequences of three objects (e.g. a wine glass, toothbrush and tube of toothpaste). These arrangements are accompanied by graphic compositions that explore different types of signs (print, braille, handwriting) and examine their relationship (e.g. ...