Henryk BERLEWI (1894-1967), Marlene Dietrich

oil, canvas; 73 x 60 cm;
On the reverse, on the stretcher, an oval stamp from the atelier: ATELIER / BERLEWI with an inscription in the rim: Étude CHAPELLE PERRIN FROMANTIN / [VERSAILLES]; on the painting loom a printed paper sticker: J.-P. CHAPELLE - P. PERRIN - D. FROMANTIN / (...) / VERSAILLES / (...) with number below: 1429 (in marker).

Henryk Berlewi, creator of the theory of Mechano-Faktura - which assumed the rejection of the illusion of space in favor of rhythmic, two-dimensional planes. Following in the footsteps of representatives of neoplasticism and artists - constructivists, he decided that the composition of a painting should be built on the basis of basic geometric figures and three colors: black, white and red. At the same time, he assumed a mechanical selection of the figures used in the painting. These principles, the foundations of op-art, were announced in 1924 in the pages of the Berlin magazine Der Sturm, and the artist himself did not return to them until 1957.
The period from 1928 to 1957 in Henryk Berlewie's work marks a return to figuration. At that time the artist creates numerous portraits and cubic still lifes. After settling in Paris between 1928 and 1938, he paints many portraits of notables of the time - politicians, writers or, as in the case of the offered canvas, stars of the silver screen. At the same time, he devotes himself to writing and art criticism. The tendencies of the era and art déco aesthetics are clearly visible in these images. Henryk Berlewie's turn to the theme of art modeled on the canon of painting was due to the difficult, post-crisis economic situation of late 1929. At the same time, taking into account the period of World War II, when the artist fled to Nice and participated in the resistance movement there, it is possible to believe that the presented portrait of actress Marlene Dietrich was probably painted at the end of the 1930s.