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Mild scuffing and edgewear to dust jacket. Light edgewear to cover boards. Otherwise, clean, sound, copy. Includes 206 plates, mostly in color. Museum Naradowe. Warsaw, Poland. 1987. NEW mylar sleeve covers jacket.

151 (1) Seiten, zahlreiche Abbildungen Mit Texten von Urszula Czartoryska und Stefan Okolowicz. -- "Stanislaw Ignacy Witkiewicz gehört als zentrale Figur der polnischen Avantgarde zu den vielseitigsten und schöpferischsten europäischen Künstlern des 20. Jahrhunderts . In Malerei und Photographie (betritt er) eigene Wege und stand den vorherrschenden Strömungen seiner Zeit ironisch distanziert und reserviert gegenüber. Besondere Bedeutung innerhalb seines photographischen Werkes . kommt den Portraitserien von Freunden und Verwandten zu. Diese `Seelenportraits` halten auf sehr eindrucksvolle und manchmal auch unheimliche Weise den `inneren` Menschen im Photo fest. Die zum Teil ungewöhnlich nahsichtigen Aufnahmen können durchaus als erste ihrer Art in der Geschichte der Photographie gelten. Das photographische Werk von Witkiewicz wurde im Zweiten Weltkrieg fast völlig vernichtet; erhalten geblieben sind nur wenige Einzelbilder" (Text Galerie Berinson, 2003) -- Gut erhaltenes Exemplar // Mint copy. Sprache: Deutsch Gewicht in Gramm: 2550 30,5 x 24,5 cm. Graues Original-Leinen mit fotoillustriertem Schutzumschlag.

Contains previously uncollected writings, including articles about Witkacy's doubles, historical and medical simulations, the Battleship Potemkin, comédie rosse at the Grand Guignol, Polish theater, Grotowski and Kantor, Mrozek and Rózewicz, Polish and Russian symbolists, and erotic French puppets.

In the vein of the well-known drug writings of De Quincey and Baudelaire from a century earlier and those of his contemporaries Walter Benjamin and Jean Cocteau – and foreshadowing the later writings of Aldous Huxley and Carlos Castaneda on psychoactive drugs – Witkacy composed Narcotics in 1930 to discuss and document not only his own experimentation with different substances but the nature of addiction itself and the prevailing social attitude toward drugs, particularly those that were considered “acceptable.” As life became increasingly mechanized, Witkacy felt that a sense of the metaphysical could only be achieved by artificial means, and like Henri Michaux, he produced an extensive oeuvre of singular visual art while under the influence of a variety of substances.Meandering, acerbic, and burlesque, rife with neologisms and expressions from German, French, English, and Russian, Witkacy dissects Polish society and the art world as well as himself via the hypocrisy surrounding drug use. Since it was first published in the 1930s, Narcotics has achieved a cult status in Poland where it is considered both a modernist classic and a paragon of Witkiewiczian madness. This edition, the first complete translation in English, includes a second appendix written later, passages from the novel Farewell to Autumn, and 34 color reproductions of a cross section of portraits to show how various substances impacted Witkacy’s art.