Władysław Hasior (May 14, 1928 in Nowy Sącz – July 14, 1999 in Kraków) was one of the leading Polish contemporary sculptors connected with the Podhale region. He was also a painter and theatre set designer.
| Władysław Hasior | |
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Władysław Hasior |
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| Born | May 14, 1928 Nowy Sącz, Poland. |
| Died | July 15, 1999 (aged 71) Cracow, Poland. |
| Nationality | Polish |
| Field | Painting, Sculpture, |
| Training | Academy Of Fine Arts In Warsaw |
| Works | Wyszywanie Charakteru (1976assemblage) Pamięci Dzieci Zamojszczyzny (1973 assemblage) |
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Władysław Hasior was born in Nowy Sącz on May 14, 1928. In 1947-1952, he studied under Prof. Antoni Kenar at the State Secondary School of Visual Art Techniques. In 1952 he started his studies(sculpture) at Academy of Fine Arts in Warsaw. He graduated from the Academy in 1958. In 1968 Hasior had returned to his first school and became a teacher there until 1968. In 1959-60, he stayed in Paris as a holder of thr scholarship of the French Ministry Culture, there, he studies under Ossip Zadkine. His first individual exhibition was in 1961 at the Jewish Theater in Warsaw. Since then his works have been displayed at over seventy individual exhibitions in Poland and Europe. Hasior’s art meant to provoke and shock the beholder. He continuously experimented with forms, techniques and materials by creating spatial compositions, assemblages and collages. He also authored many unconventional monuments and plein air sculptures, both in Poland and abroad. Since 1984 artist focused on the continuous arrangement of the authors Gallery. Władysław Hasior died on July 14, 1999 in Cracow. He is buried at the Zakopane Cemetery of the Meritorious at Pęksowy Brzyzek.
Gallery exist since 1984 and situated in interior of the ‘deck-chair rental’ by the ‘Warszawianka’ Hotel, a building that served an unknown today purpose and that was built prior to World War II when Zakopane was an antituberculosis resort and bed rest in the open air was a common form of treatment . Officially, Hasior’s Gallery is a branch of the Tatra Museum, which the artist enriched with a "dowry" of around one hundred of his works. They constituted the bases for the permanent exhibition made available to the visitors on the ground floor of the building. This is the exhibition which the host of gallery continuously developed and altered, building some kind of a total work, a very unique installation of his own exhibits, he created a magical space imbued with music, light, and turned unreal with reflection of huge mirrors.