em on his work from that period (the artist himself denied it). At that time Laszczka took part in exhibitions Soome of Laszczka’s best sculptures depict women (he created portraits and acts). Women in his I. K organised by Société des Artistes Français (Society of French Artists). In 1895 he submitted two sculptures: works are soft and smooth. Sometimes the smoothness is emphasised by rough texture of other elements onstanty Lasz Rozpacz (Despair) and Opuszczony (Abandoned), in 1896: Lato (Summer) and Zima (Winter also known of sculptures. At the end of 19th century the artistic world was obsessed with the idea of battle between as La cigale - Grasshopper). Later that year Zima (Winter) was awarded with the first prize in an exhibition the genders. However, Laszczka seemed to be very empathetic and friendly towards women and his eum w Dobrorganised by Towarzystwo Zachęty Sztuk Pięknych (the Society for the Encouragement of Fine Arts in sculptures prove that. Niewolnica (Slave) was so important for Laszczka that he let Leon Wyczółkowski Warsaw). In 1896, having graduated École Nationale et Spéciale des Beaux-Arts (School of Fine Arts portray him with the sculpture in 1902. Smutna (Sad) depicts a sad pregnant peasant girl. This sculpture y muz in France) with honours, Laszczka returned to Warsaw. In order to earn his living he took up a position was created several times. Each time it was a variation of the original. Yet another sculpture - Zima (Winter) czka – zbior of a drawing teacher in a female boarding school run by Aniela Hoene-Wrońska and another one run also known as Cigalle (Grasshopper), was inspired by Lafontaine’s fairy tale about a careless grasshopper, by Edward Alexander Ronthalerl. He worked there until 1899. In 1897 he married Maria Helena Alojza who was taken off-guard by frosty winter. Critics pointed out a big influence of impressionism and August Strońska and they had four children: Czesław, Bogdan, Jadwiga and Janina. He did not abandon his art Rodin on Laszczka’s work. They also claim that Rozpacz (Despair) was inspired by Rodin’s Danaid. at that time. In those years he created W nieskończoność (In infinity) - a mythologically inspired figurative Laszczka’s experience in Kryński’s studio influenced his attitude towards the ideas promoted by the y muz czka – zbiorbunt, sculptures: Prometeusz (Prometheus), Orfeusz (Orpheus), Edyp (Oedipus) and Antygona (Antigone). Arts and Crafts movement from England i.e. recapturing the spirit and quality of traditional craftsmanship. A major breakthrough happened in 1899, when Julian Fałat offered Konstanty Laszczka the position of He was a member of Stowarzyszenie Polska Sztuka Stosowana (Association for Polish Applied Art) eum w Dobr Head of Faculty of Sculpture at the Academy of Fine Arts in Cracow. In 1905 Laszczka was nominated as established in 1901 in Cracow. In his artistic creation Laszczka also drew inspiration from the culture of professor at the Academy of Fine Arts. In the years 1911-1912 and 1929-1930 he served as Rector at the Far East. Everyday utensils that Laszczka created in his studio also gained recognition. It was Laszczka Academy of Fine Arts in Cracow. Even when he retired in 1935 he still conducted lectures and in 1936 who introduced ceramics into the curriculum of the Academy of Fine Arts in Cracow. In 1920 he founded onstanty Laszhe was nominated as honorary professor at the Academy of Fine Arts in Cracow. Laszczka’s pedagogical I. K talent was undeniable right from the start when he worked in Warsaw, but he fully developed as a mentor and financed a ceramic studio. In the years 1900-1910 he cooperated with ceramic factories in Dębniki em in Cracow. While working at the Academy, he educated Polish sculptors, many of whom became well and Skawina. known both in Poland and worldwide: Stanisław Szukalski, Bolesław Biegas, Ksawery Dunikowski, Olga Laszczka’s most original works are ceramic sculptures, such as decorative vases, plaquettes, and Niewska and Ludwik Puget. As a mentor Laszczka never limited creativity of his students. However, he figurines. Special attention should be paid to sculptures inspired by fairy tales and legends: figurines of always aimed at instilling respect for diligent work. He also emphasised the importance of identifying and chimaeras, dragons, enchanted princesses, birds and demons. Unlimited creativity of the artist resulted recognising individual talent of every student and artist. This might have been the reason for his popularity in original and inimitable works, many of which up to this day have not been fully recognised. among students. He was keen to share all his expertise in the field. He himself was a skilled sculptor and worked with various materials: stone, marble, granite and wood. He would always emphasise that talent The only monographic museum of Konstanty Laszczka is located in Dobre, where the artist first only develops when the artist believes in himself and loves his work. went to school. The museum offers a permanent exhibition of his works: monumental sculptures and In the 19th and at the beginning of 20th century artists won fame mainly through monumental drafts, portraits of famous people and family members, figurative and animalistic sculptures as well sculptures and Laszczka was not lucky with that. Unfortunately a large part of his monumental projects were as fantastic ceramics, artistic medals, portrait medallions, plaquettes and paintings. The collection is destroyed in wars and other projects did not come into being. The Krasinski family Tomb in Opinogora accompanied by photographs, diplomas, medals and biographical resources about Konstanty Laszczka. was destroyed during the war. Although in 1910 Laszczka won a competition for memorial of Andrzej Potocki in Lviv the plans fell through. A bronze statue of Henryk Sienkiewicz in Bydgoszcz created in 1927 Roman Postek was destroyed by Germans. In 1928 in Czarkowy by the Nida river Laszczka created a statue of Józef Art historian Piłsudski as a tribute to legionaries who died in the battle in 1914. Then in 1929 in Kołomyja Laszczka created another statue of Piłsudski which depicted the Polish marshal as sitting on a dwarf throne. Both sculptures were destroyed by the Soviets during World War II. Yet another brilliant work destroyed during World War II was U źródeł Wisły (At the source of the Vistula) - a fountain depicting the biggest Polish river as a beautiful girl standing over a spring and a pool with a bunch of flowers and corn (draft created in plaster is currently available in the museum in Dobre). In Cracow one can still admire Anioł Zemsty (The Angel of Revenge) - a secession style sculpture on Rakowicki Cemetery in Cracow created as a tribute to casualties of the city bombing performed by the Austrian in 1848. In 1930s Laszczka, well into his sixties, withdrew from artistic rivalry, he stopped taking part in competitions for statues. This prevented him from gaining the reputation he deserved as a highly accomplished artist. Much of his work comprises of portraits sculpted in plaster, wood, stone, metal and clay. During his life he created over 100 sculptures. He depicted prominent historical figures, artists of his times as well as his wife and children. His sculptures of Adam Mickiewicz, Juliusz Słowacki or Mikołaj Kopernik, present these artists from a different perspective - as real people with emotions. Together with his friend - Leon Wyczółkowski - Laszczka created on location in Zakopane. This resulted in a few excellent sculptures of Gorals including a portrait of the famous Sabała. During their Tatra excursions Laszczka enjoyed painting landscapes under Wyczółkowski’s supervision. 10 11