I found out yesterday that a new exhibition dedicated to Halina Korn has opened in Toruń. It’s being held at the excitingly-named Collegium Maximum.
I couldn’t find an English press release (even though Halina lived in the UK for about 30 years), so I’ve gone ahead and translated the Polish version myself. It’s mostly a long quote from Halina – watch out for an excellent bit about buttocks.
Opening event: 4 November (Monday) 2024, 17:30
Open from 5 November 2024 to 28 February 2025
Organiser: Nicolaus Copernicus University, University Library, and the Association of Friends of the Emigration Archive
Exhibition authors: Kasia Moskała, Mirosław A. Supruniuk, Joanna Krasnodębska, Grażyna Kwaśnik and Julia Wójcik
Framing: Sylwia Maślany
Conservation: Ewa Jabłońska
Additional duties: Ewa Jabłońska, Izabela Maćkowska
For the first time in its 20-year history, the University Museum is showcasing every work it has of an extraordinary artist, one who could never be pigeonholed. Halina Korn disliked being introduced as “the wife of her husband”, Marek Żuławski, as she fought for her independence and worked tirelessly to establish her own artistic identity. Even though she was a trained opera singer, a writer and a talented polyglot, it was visual art that became the passion and purpose of her life. Her first lessons in painting came from Marek, who, recognising his wife’s talent, gave her the most important piece of advice he could: never imitate anyone! This idea became such an important motto for her that her work — despite many attempts — defies categorisation. The title of this exhibition [Rebellious / Defiant / Unruly] reflects not only the artist’s temperament and strong character but also the exceptional honesty found in her paintings and sculptures.
I only took up painting once I was in London, after my wedding to the painter Marek Żuławski. I was drawn in by the palette and brushes that lay easily within reach. A year later, in 1948, I had my first solo exhibition at the Mayor Gallery; my second was in 1952 at the Beaux Arts Gallery, where I also displayed my sculptures. I’ve exhibited with the London Group, the R.A. (Royal Academy), and taken part in numerous group shows in galleries in London and Paris.
I adore painting, I adore the smell of oil and turpentine. I adore vivid colours — I probably inherited that from my father, who painted everything that came to hand in red, green and gold.
I find the subjects for my paintings with every step I take; they follow me, and sometimes I have to jot them down for fear of forgetting them. I never sketch directly from nature, but observe intently and draw from memory when I return to the studio.
I adore everything that lends itself to being painted: hence, I love human beings. Not Humanity — because that can’t be depicted. But you can paint the street bazaars of Whitechapel. And by Jove, the rounded buttocks of the market women there are so beautiful! An acrobatics display at the circus is as dramatic for me as a crucifixion, and the mosaic of human faces at Lyon’s Tea House as enchanting as a bouquet of flowers. The landscape of Kilburn High Road gives me an even greater thrill than Italy’s most picturesque scenery.
I seek neither beauty nor ugliness. […]
Some people think my paintings are ‘a bit satirical’. Nothing irritates me more. I never attempt to depict the comic side of life because I don’t notice it. Perhaps I don’t have a sense of humour? And if anyone finds the faces in my paintings amusing — then that’s their own fault.
— Halina Korn, Gallery One, London, 1960
