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Zbigniew Lutomski (pronounced loo-TOME-ski)
Saturday, Sept 19 - Sunday, Oct 25, 2009

Zbigniew Lutomski is a master of woodcuts, both white and black, as well as color. His scientific and precise skills model the artists of Japan who have used this technique since the 17th century. In Lutomski's woodcuts, soft shapes, often of biological and anatomical attributes, verge on geometry. What is natural, spontaneous and body-like converges with the abstract.

Please note that the first  4 prints will be on view at the show, other prints may be seen by appointment.

     
Lutomski thumb Lutomski thumb
Lutomski thumb
Taxis VIII
32 1/4 x 20 3/8
Taxis X
32 1/4 x 20 3/8
Zone X
32 3/8 x 20 3/8
Lutomski thumb
Lutomski thumb
 Lutomski thumb
Zone III
32 3/8 x 20 3/8
Zone V
32 3/8 x 20 3/8
Sign III
31 1/16 x 20 7/16
     
Lutomski thumb
Lutomski thumb
 Lutomski thumb
Zone VII
32 3/8 x 20 3/8
Suplement X
32 1/4 x 20 3/4
Compensation VIII
32 3/8 x 20 3/8
Lutomski thumb
 Lutomski thumb
Lutomski thumb
Compensation IX
32 3/8 x 20 3/8
Taxis XI
32 1/4 x 20 3/8
Zone VIII
32 3/8 x 20 3/8
     
Lutomski thumb
 Lutomski thumb Lutomski thumb
Printed X
31 1/16 x 20 7/16
 Zone VI
31 1/16 x 20 7/16		 26.XII
31 1/16 x 20 7/16

 

Lutomskiabout the artist
 Zbigniew Lutomski (b. 1934 in Grodno, formerly Poland) graduated from the Academy of Fine Arts in Cracow in 1960. Currently, he is a professor at the Academy of Fine Arts in Cracow, and also at the Higher School of Fine Arts in Poznan, where he heads the Woodcut Studio.

He has had over 30 one-man shows in Poland and abroad, and participated in many group exhibitions worldwide, winning 34 awards (e.g., Grand Prix at the Polish Woodcut Quadriennial in Olsztyn, Poland). His works are included in various private and museum collections such as the Library of Congress in Washington, DC, Albertina Museum in Vienna and Portland Art Museum.

He is a member of XYLON — the International Society of Wood Engravers, and honorary member of International Biographical Center in Cambridge. He has curated the International Print Biennale and International Print Triennale in Cracow on multiple occasions.

Lutomski resides in Cracow.

 

selected solo exhibitions

1976: Polish Cultural Institute, London

1979: BWA Gallery, Bialystok

1980: Gallery ARS 2, Maribor, Slovenia

1980: BWA Gallery, Poznan

1982: BWA Gallery, Lodz, Poland

1988: Gallery of Fine Arts, Krakow

1990: BWA Gallery, Opole

1990: Museum of Cieszyn, Czech Cieszyn

1991: Small Graphic Gallery, Lublin, Poland

1992: Gallery BWA, Zamosc

1996: Gallery Garbary 48, Poznan

1998: Printmakers from Krakow, National Museum of the New Building

1998: Krakow Museum of Warmia and Mazury, Gallery “Castle”, Reszel

2000: Jan Fejkel Gallery, Krakow

2000: National Gallery of Art, Sopot

2003: Gallery of Contemporary Art, Przemysl

 

selected awards & honors

1961: Medal TPSP in Cracow

1962: Distinction, Graphic Art Biennial, Cracow

1965: Distinction, exhibition of Golden Grape, Zielona Gora

1966: Special Award, The First International Print Biennial, Cracow

1968: Bronze Medal, Festival of Fine Arts in Warsaw

1968: Second Prize, International exhibition of woodcut, Banska Bystrica, Slovakia

1968: Award Mera Tokyo Print Biennial, Tokyo

1969: Distinction, National Competition Graphic, Lodz

1969: Award. IV, National Exhibition of Graphic Art, Lodz, Poland

1970: Rector's Award ASP III International Print Biennial, Cracow

1971: Award MKiS, National Exhibition of Graphic Arts, Poznan

1973: First Prize, National Competition Graphic, Lodz

1973: Medal and prize MKiS Golden Grape, Zielona Gora

1975: MKiS Award, National Competition Graphic, Lodz

1975: Statutory Award “The Art of Fact”, Bydgoszcz

1976: Company Rowney Award

1978: Award, National Exhibition of Graphic Art, Warsaw

1979: Second Prize, National Competition Graphic them. J. Gielniak, Jelenia Gora

1979: Third Prize, National Competition Graphic, Lodz

1979: BWA Gallery, Bialystok

1981: Award, National Competition Graphic, Lodz

1983: Distinction, National Competition Graphic them. J. Gielniak, Jelenia Gora

1986: Statutory Award, Medal of Honor, XI Biennial of Graphic Arts, Cracow

1987: Governor's Award, IV Quadrennial woodcut, Olsztyn

1987: Second Prize, National Competition Graphic, Lodz

1988: Award MKiS, "Primum non nocere", Cracow

1989: II National Competition Graphic, Lodz

1991: Statutory Award, International Print Triennial, Cracow

1991: Grand Prix, May Quadrennial wood engraving, Olsztyn

1995: First Prize equivalent, Jun Quadrennial woodcut, Olsztyn

1995: Third Prize, International Triennial of woodcut, Banska Bystrica

1997: Award equivalent, V International Art Triennial, Majdanek

1997: Grand Prix, Sept. National Competition Graphic them. J. Gielniak, Jelenia Gora

1997: The award funded the President of the Board of the Polish Artists Union

1997: 3 Polish Print Triennial, Katowice, Poland

1997: Award the purchase, The International Exhibition of Graphic Art, Portland

1999: Grand Prix, July Quadrennial Polish woodcut, Olsztyn

2003: Honorable Mention 11 Graphic Competition them. J. Gielniak in Jelenia Gora

2009: Statutory Award, International Print Triennial, Cracow

 

works in selected collections

Besides the Museum of Art, Lodz, Bydgoszcz Land Museum and Municipal Museum of Art, Reutlingen, Lutomski’s works are in the following collections:

Library of Congress, Washington, USA

Portland Art Museum, Portland, USA

Albertina Collection, Vienna, Austria

Center of Graphic Art, La Louviere, Belgium

National Museum, Prague, Czech Republic

Municipal Museum of Art, Reutlingen, Germany

Municipal Museum of Art, Dresden, Germany

Municipal Art Collection, Dresden, Germany

Museum of Modern Art, Skopje, Yugoslavia

Museum of Art, Geveva, Switzerland

Art Museum, Le Locle, Switzerland

National Museum, Stockholm, Sweden

Kunstverein, Grenchen, Sweden

and various private collections

PRINTMAKING 101
t e r m s    &   t y p e s

woodcut: The most enduring method of printmaking, practiced virtually unchanged in China and Japan since the 8th century and in the West since 14th century. The surface of a block of wood is carved with knives, chisels and gouges, the "negative" parts of the desired image being cut away and the "positive" left intact. Woodcut flourished in Renaissance Europe as the primary form of book illustration, but gave way to intaglio methods around 1600. It became important again in the nineteenth century, first in the form of the wood-engraving, then as a vehicle for the avant-garde primitivism of Gauguin and German Expressionists.

The colored woodcut requires a separate block for virtually every color, the only exception being small patches of two different colors which are sufficiently far apart to share the same block and to be inked separately for simultaneous printing. Impressions pulled from the first, which is called "key", are used as templates for making the others. A special difficulty of the color print is "registration", the laying down of the colors so that they fit precisely as intended. The color woodcut flourished in the sixteenth century as a means of reproducing wash drawings, then from the later nineteenth century onwards under the inspiration of Japanese prints.

additional printmaking terms
 
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