Tadeusz Lapinski was born on June 20, 1928 in Rawa Mazowiecka into an artistic family. His grandfather, Julian Lewinowicz, was educated in graphic arts at the Gerson School and studied art engraving, as well. The artistic atmosphere pervading his family's home and his sensitivity for the beauty of nature served as sources of inspiration for his early drawings including those of the Rawa Castle. Tadeusz Lapinski's experiences and early artistic emotions are vital factors that helped shape his future as an artist and man. The War separated him from his father and his childhood. In his teens, he was an active participant in the Grey Rows (Szare Szeregi) against the occupying forces, experiencing the misery of those tragic times on a first-hand basis. After the War he rejoined his family and resumed a normal life, continuing his education including completing elementary school at the Felician Order in Wawer. In 1949 he received his high school diploma at the highschool in Anin, where his talent and aptitude for art was discovered by his art teacher who directed him to the Warsaw Academy.
There he studied painting under the direction of Professor Artur Nacht-Samborski and graphic arts under Professors Jozef Tom and Jozef Pakulski. To his Professors, he owes his awakened passion for experimentation and sensitivity for color. He graduated academically in 1955 with a Master of Fine Arts degree. Although still a student, he was admitted to the Polish Arts Association (ZPAP). His credentials for entry were his non-figurative creations: very large canvases with three-dimensional compositions created with a thick paint containing sand and cement.
These were indeed difficult times for artists because of the prescribed social-realistic style, and few possessed the courage to rebel against the official guidelines. Contact with Western art was scarce. Tadeusz Lapinski has the following documentation about his views at that time: "My relationship with social-realism always was very negative. Within me was an instinct, an uneasy spirit, a personal rebellion that compelled and directed me to break with tradition and strive to find a more modern conception. And eventually, I attained an alternate artistic vision. In this, I was supported by Professors Samborski and Pakulski. The dynamics of my vision led me to concentrate on color lithography, although I previously had created about 100 structured paintings, which became the foundation of my printmaking. In 1957, I exhibited my works together with those of Jan Lebenstein. My close friends were the artists Zbigniew Makowski, Frank Starowiejski, Roman Opalka, and later Jan Lebenstein".
In 1958, his window to the outside world opened through the first international exhibition of his lithographs in Belgrade. Because of the impressive acclaim he received there, he became a successful artist in many galleries throughout Europe and later America. The same year he had an exhibition in the gallery of Wladyslaw Grabowski in London. Through his ability to learn languages easily, he soon became proficient in the major European tongues.
His early successes stimulated the artist to find new avenues of expression: experimental multicolor techniques known in English as "split-color". Such techniques were not yet known in Poland. In 1963 - 64, the prominent art expert Gustav von Groschwitz discovered and publicized Lapinski's art in the United States.
In the early1960s, his works were displayed at the First International Exhibition of Prints in the United States, whose curator Gustav von Groschwitz was known as the "father of American graphic art". There the artist received a prestigious prize from the Cincinnati Art Museum. During this period, the pedagogic abilities of Tadeusz Lapinski also became evident; the artist taught in Paris and Brazil.
In 1962 Gustav von Groschwitz organized an exhibition for young artists at the Museum of Modern Art in New York City, which brought Lapinski another notable success. Gustav von Groschwitz, who advanced to become Director of the Fine Arts Department at the Carnegie Institute in Pittsburgh, invited him to visit the United States. There Fritz Eichenberg, Director of the Pratt Graphic Center in New York became fascinated by the artist's work and introduced Lapinski to elite artists from around the world. The Pratt Center was "the most prestigious institute in the United States for promoting graphic art through the application of innovative techniques, and Eichenberg gave me the opportunity to exhibit my work in numerous galleries throughout the United States", Lapinski said.
He moved to New York City as a resident artist at the Pratt Center and became an integral member of its teaching staff. As a result of his many exhibitions, Tadeusz Lapinski also became a well-recognized artist in Europe. He has received many prestigious international awards. In Europe he was declared one of the most original and exciting young masters of color lithography. In 1965 William Lieberman invited him to exhibit at the Museum of Modern Art in New York City. Eventually the artist settled there in 1968 after an artistic adventure in Porto Alegre, Brazil. Several years later the Chairman of the Art Department at the University of Maryland, George Levitine, induced him to join its faculty.
John Boone, Assistant to the Dean of the University, wrote the following about his art of the sixties: "Anyone who now sees Lapinski's large prints from this period is immediately struck by their original and distinctive character. They are at once abstract, yet composed of very traditional, representative shapes and arrangements. They are mechanical yet vibrant; they blaze with color and yet have a clean sense of line, all modeled with an intense dimensionality.
No one did this with lithography before Lapinski. His prints have the flexibility of painting. He does his own printing, making daring technical variations through the use of an incredible array of techniques". His creations received the highest praise from leading art critics such as Jacob Kainen of the Washington Post who wrote that his "high artistic conscience, together with his powerful imagination and choice of color, set Lapinski apart as one of the finest contemporary printmakers".

In the mid-1970's, the artist's technical experiments caused a blood disorder that produced a serious illness. He had been working day and night in a non-ventilated area with chemicals that later were described as highly toxic. His convalescence required several years during which time he continued his printmaking, although not at full scale. Then he became interested in watercolor and is becoming equally successful in this field, having received many international awards. Meanwhile, he has continued his academic teaching to the present day.
Jack Walsh, the artist's agent, has the following to say about their meeting at the difficult time of his illness and their subsequent friendship: "When I first met Tadeusz Lapinski, I was overwhelmed by his unique personality. He was so full of life and very compassionate about his art. Lapinski creates his images directly on plates, pulls his own editions, and generally produces editions of 5 to 25.
What I did not know at the time was that Mr. Lapinski was recovering from a near death bout with a rare blood disorder contracted from years of exposure to the fumes of inks and solvents used in print-making. He was hospitalized for most of 1976. One would not be able to tell he had been so ill. His lithographs were spectacular and were truly some of the most impressive compositions I had ever seen. The art gallery that I was working at could not keep them in stock. I felt connected to Lapinski and his art somehow then and find myself some twenty years later being his United States representative. Our friendship is special and I treasure the times we spend together talking about art and life. It gives me great pleasure to be able to share the art of Tadeusz Lapinski with the world once again".
Tadeusz Lapinski's creations are fascinating -- unusual configurations of colored objects that charm individuals having many professions and interests such as Dr. Harrison Hoppes, biotechnology specialist, business executive of the year, recipient of the highest recognition of the State of Maryland, and art collector who currently is writing a book about T. Lapinski titled: "Beyond All Odds: The Incredible Art of Tadeusz Lapinski". Hoppes owns about 700 of the artist's works.
Dr. Harrison Hoppes, for example, states: "There is something magical about the art of Tadeusz Lapinski. His shapes come alive in changing light -- spheres float in space, pistons assume dimensionality, and flat surfaces appear to bend perceptively. Lapinski, the master lithographer, has discovered new techniques to achieve these and many other effects related to subtle changes in color and shading Yet, the magic in his art is his ability to transfer his technical discoveries into the art, itself. His compositions seem immune from aging; the longer one studies (or lives with) them, the more secrets they reveal. Like good friends, they become more precious with age. Lapinski has been recognized for decades as one of the most influential lithographers in history. Yet fame and fortune as a first-tier modern artist have eluded him. Lapinski's art, however, transcends his technical mastery of lithography, someday his compositions will be recognized as being among the most dynamic of the latter half of the 20th Century".
The artist has received numerous prizes and awards including three prizes at the Biennale of Graphic Arts in Krakow, the 1965 UNESCO Prize for graphic art in Paris, and the 1985 Statue of Victory Prize in Italy, the highest award in graphic arts in Italy.
Tadeusz Lapinski is represented in most of the premier museum collections of the world including the Museum of Modern Art in New York City, the Museum of Art in Philadelphia, many museums through Poland, the San Francisco Museum of Art, the Museum of Modern Art in Tokyo, the Museum of Modern Art in Brazil, museums throughout Italy, the Hirshhorn Museum in Washington D.C., the National Gallery of Art in Washington D.C., the Phillips Collection in Washington D.C., the Bibliotheque National in Paris, the Metropolitan Museum in New York City, and many other museums. He has had individual showings in museums in Austria, Yugoslavia, Poland, the Museum of Modern Art in Paris, and museums throughout the United States including the National Collection of Fine Art in Washington D.C. and the Whitney Museum in New York City.
The Lapinski Art Center - Museum was opened on the Island of Krk in Croatia in the summer of 1983 to house his creations. Fascinated by the beauty of this island, he located an old house and set up a studio for himself. From there, he painted a series of watercolor scenes and views of historic interest including the Romanesque cathedral, narrow streets, and ancient houses. He even created abstract compositions featuring the island's rocky cliffs and shores.
It is an exceptional honor for an artist to have his own museum during his lifetime, but Tadeusz Lapinski certainly deserves it and has publicized the beauty of the Island through his artwork. On the first anniversary of his art center, he was honored by having a week designated "Tadeusz Lapinski Days". Previously in a similar manner, the Mayor of Washington, DC, Marion Barry Jr., proclaimed December 9, 1981 as "Tadeusz Lapinski Day" in recognition of his contributions to the cultural life of the nation's capital. Local museums and galleries exhibited the artist's works on this day. In the "Tadeusz Lapinski Day" proclamation by the Mayor of Washington, DC, on December 9, 1981, Marion Barry Jr. among other things stated:
"Tadeusz Lapinski has exemplified the spirit of freedom and courage in his philosophy and life-style, being the source of inspiration, encouragement and knowledge to many of our local artists; and . . . (he) has brought joy and friendship among people throughout the world with his universal art".
The name Tadeusz Lapinski appears in many publications and anthologies in the graphic arts. They emphasize his comprehensiveness and innovative ability, with particular emphasis on his split-color (rainbow) technique and textural effects. The influence of his innovations is even wider than one imagines today.
Harold J. McWhinnie considers Lapinski to be one of the greatest colorists of our times and points out his masterful handling of color; moreover, even though he departed from the traditions of painting, he was able to transform a two-dimensional art form into one having a third or even a fourth dimension.
Art critics emphasize that, although Tadeusz Lapinski does not rely on computer assistance, he still is able to obtain an incredible harmony of color. The art critic Jacob Kainen writing in the Washington Post on August 22, 1971 declared: "Tadeusz Lapinski puts more than his name into his prints". Even in his imagination, he is modern, and some of his works are considered futuristic; his use of form and color give his art universal appeal. While still in his youth, Tadeusz Lapinski achieved impressive success. Happily, he continues to create new visions and expanded artistic horizons. Throughout the 1980s, international recognition of his artistic creations continued to grow, along with enhanced recognition of the value of his unique art.
Bernard Davis, Director of the Miami Museum of Modern Art, describes three prints among his others displayed in the 1971 exhibition titled "Tadeusz Lapinski: color lithographs" by stating: "First, they are unique. They are monumental in size and we mention the fact monumental not particularly in dimensions but in construction. They have strong architectural quality and could be used as an inspiration for ceramics. The fact that they are litho embossed give them the bas-relief effect . . ."
The artist's frequent travels and his fascination with historic architecture led to a series of watercolors depicting city scenes and historic buildings. One can admire the views of Kazimierz on the Vistula, Plock, Torun, and Radom, as well as a series of panoramic views of Venice (La Citta Bella) or the Island of Krk.
Surprisingly, the artist is able to integrate his artistic visions, teaching, achievements, and travels. We are sure that the predominant force behind this ability is a wonderful woman, his wife Maria Aust, a graduate of the Warsaw Academy of Fine Arts in tapestry and painting. This talented granddaughter of Jozef Chelmonski is a well-rounded artist; she creates tapestries, graphics, and paintings, as well as poetry. She certainly does not live in the shadow of her famous husband, but constantly searches for new avenues of expression and exhibition, and has received recognition in the United States while maintaining a home full of Polish atmosphere and warmth. They own another home in Grodzisk Mazowiecki. Each year they visit Poland with their children, Adam and Monica. Their artistically talented children are reared in the spirit of the Polish tradition.
Alas, the artist's fame and recognition in Europe, the United States, and even in distant China, Korea, and Japan has not been matched in his native Poland. He has exhibited in Torun, Plock, Zyrardow, Grodzisk, Milanowek, Warka, Lomza; where ever he goes he creates friendly contacts with the heads of museums and galleries, as well as with the visitors to his exhibits. He is as well connected with big-city audiences as with those at smaller art centers. He deliberately shares his knowledge of modern art by his exhibitions and meetings in small towns, where the opportunity to meet prominent artists is rare, teaching others how to understand values in modern art beyond the present day and, in return, receiving their recognition and gratitude.
Tadeusz Lapinski declares the following about himself and his recognition in Poland: "I have a Polish heart and Polish romanticism combined with American modernism. I've always been a Pole and most of the awards I've received are a reflection on Polish culture. Yet, only in Poland have I almost never been recognized. In my own Country, my recognition is highly underestimated and I've lived with that".
The artist's works are on deposit in a number of Polish museums and galleries including 200 pieces in the District Museum Konin, each described and catalogued. Their fascinating coloration, pulsating rhythm, and almost 3-D dimensionality await discovery in Poland. We hope we will not have to wait too long for this event.

Documentation based on American resources
Lucia Pawlicka-Nowak
Janusz Lehmann