Dimensions: 8 graphics:
28 x 38 cm
2 graphics:
38 x 48 cm
1. "The Deportation of Children", 1947, 23 x 31 cm (in light passe-partout), author's title and date in pencil l.m.: '"Export of Children" 1947'
2 . "Displacement II", 1946, 32 x 22 cm (świetle passe-partout), author's title and dating in pencil l.d.: '"Displacement" II 1946', p.d.: 'Jonasz Stern'
3. ''Lviv Ghetto'', 1945, 23.5 x 33 cm (light passe-partout), author's title and dated in pencil l.m.: '"Lviv Ghetto" 1945', p.d.: 'Stern Jonasz'.
4. "Ghetto Gate II", 1948, 26.5 x 21 cm (light passe-partout), author's title and dated in pencil l.d.: '"Ghetto Gate" II 1948'.
5. "Displacement I", 1946, 33 x 22 cm (clear passe-partout), author's title and dating in pencil l.d.: '"Displacement" I 1946', p.d.: 'Stern Jonasz'
6. "Gate to the Ghetto I", 1948, 32.5 x 23 cm (light passe-partout), author's title and dated in pencil l.d.: '"Gate to the Ghetto" 1948', p.d.: 'Stern Jonasz'
7. "Imprisoned", 1949, 13.5 x 11.5 cm (light passe-partout), copyright title and dated in pencil l.d.: '"Imprisoned" 1949', p.d.: 'Stern'
8. "Residents of the Ghetto", 1954, 25 x 21.5 cm (clear passe-partout), copyright title and dated in pencil l.d.: '"Residents of the Ghetto" 1954', p.d.: 'Stern Jonasz'
9. "Displacement III", 1946, 40 x 31 cm (light passe-partout), copyright title and dated in pencil l.d.: '"Displacement" III 1946', p.d.: 'Stern Jonasz'
10. 'Hideout in the Ghetto', 1945, 36.5 x 25 cm (light passé-partout), author's title and dating in pencil l.d.: '"Hideout in the Ghetto" 1945', p.d.: 'Stern Jonasz'
Condition
unframed works
Provenance
private collection, Rome
Biography
He studied privately with P. Gajewski, then, in the late 1920s in Cracow - at the Free School of Painting and Drawing of L. Mehofferowa and at the Academy of Fine Arts with W. Jarocki, F. Pautsch, T. Axentowicz and S. Kamocki. During World War II he lived in the Lviv ghetto. He was active in the underground, escaped from a transport to the Belzec death camp, and avoided mass execution. In 1945, he returned to Krakow and joined the community centered around Tadeusz Kantor. He was active in the Krakow Group, which was renewed after the war (he was one of its pre-war founders). Throughout the 1950s and 1970s, he taught painting at the Krakow Academy of Fine Arts. Since 1958, he was involved in collages, to which he attached fish skeletons and small bones and pieces of fabric; in this way he directed the audience's attention to the themes most important to man - death and transience.
