Magdalena Abakanowicz was born on June 20, 1930, in Falenty, Poland. She is one of Poland’s most honored artists, known for her massive series of sculptures. When she was nine years old the Nazi Germany invaded Poland. She and her family undergo the ongoing war throughout the years. After the war, being controlled by the Soviet Union. Social realism at the time was the only thing that was acceptable, it had to be in the more national and socialist form in content. Anything other than those art form that was practiced was culturally outlawed and heavily unacceptable in Poland including all Eastern nations. Abakanowicz finished high school and have attended two art Academy. First she went to Gdansk Academy of Fine Arts, but relocated. The second Academy is one of the leading art school in Poland, and graduated from the Warsaw Academy of Fine Arts in 1954.
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Majority of Abakanowicz’s art contributed to her experiences when Poland was under the Nazi and Soviet Union invasion. She spent most of her life moving that some of her earlier artwork was either lost or damaged in the process. For a short period of time the polish artist painted series of large gouaches on paper, cardboard, and canvas. Shortly, Abakanowicz, began to draw inspiration through her life experiences, her sculptures held an uncertainty that encourage different exposition, speaking broadly to human experiences. One of Magdalena Abakanowicz quoted, “My gouaches were as large as the wall permitted. Depressed by years of study, I was fighting back by making my gouaches for myself. For so long it had been repeated that I could not do it; my response had to be on a big scale. I wanted to take a walk among imaginary plants. Art does not solve problems but makes us aware of their existence. It opens our eyes to see and our brain to
Majority of Abakanowicz’s art contributed to her experiences when Poland was under the Nazi and Soviet Union invasion. She spent most of her life moving that some of her earlier artwork was either lost or damaged in the process. For a short period of time the polish artist painted series of large gouaches on paper, cardboard, and canvas. Shortly, Abakanowicz, began to draw inspiration through her life experiences, her sculptures held an uncertainty that encourage different exposition, speaking broadly to human experiences. One of Magdalena Abakanowicz quoted, “My gouaches were as large as the wall permitted. Depressed by years of study, I was fighting back by making my gouaches for myself. For so long it had been repeated that I could not do it; my response had to be on a big scale. I wanted to take a walk among imaginary plants. Art does not solve problems but makes us aware of their existence. It opens our eyes to see and our brain to