Stanislaw Kubicki

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Stanislaw Kubicki (also: Stanisław Kubicki , born January 20, 1889 in Ziegenhain in Hesse ; † probably June 1943, presumably in German-occupied Warsaw) was a German-Polish writer , philosopher , translator and expressionist painter .


Self-Portrait (1922)
The Madonna on Every Street Corner (1929)
Stolperstein , Onkel-Bräsig-Strasse 46, in Berlin-Britz

Kubicki attended the Royal Art School in Berlin in 1910 . From 1914 to 1918 he was a soldier in the First World War , was wounded and, from 1916, was deployed as quartermaster in Poznan. During the war he married the artist and art teacher Margarete Schuster (1891–1984) in 1916 , they had a daughter born in 1919 and their son Stanislaw Karol Kubicki (1926–2019), born in 1926 .

Kubicki made a name for himself as an original graphic artist and spokesman for the Poznan expressionist group Bunt . In addition, his cubo-constructivist and abstract paintings also deserve attention. His pictorial, poetic and programmatic works as well as essays on natural philosophy are among the most interesting in the first phase of the classical (historical) avant-garde in Central Europe.

Together with his wife, he had been in contact with the publisher of the Berlin art magazine “ Die Aktion ” since 1916 . Around 1917 they initiated joint publishing and exhibitions by German and Polish Expressionists. In 1919/1920 Kubicki exhibited his works at a group exhibition in the well-known avant-garde gallery “Der Sturm”. Here he was one of seven artists from Poland and the only representative of the Bunt group. He also published his graphics in Herwarth Walden 's art magazine of the same name .

Kubicki cultivated contacts with the group of Berlin Dadaists, above all with the "Dadasoph" Raoul Hausmann and the "Oberdada" Johannes Baader. The result of this was the so-called Cubo-Dadaist episode in his work. He interpreted the Zurich Dada, especially the programmatic and formal ideas of Tristan Tzara , in the spirit of the avant-garde utopia of the “new man”. Together with Hausmann, he carried out botanical-photographic experiments in the late 1920s and early 1930s.

From 1919 to 1922 he wrote his poems and programmatic contributions in the spirit of avant-garde internationalism in German and Polish.

In the 1920s, Kubicki made friends with the artists Jankel Adler , Raoul Hausmann , Otto Freundlich and Franz Wilhelm Seiwert . He also began translating for German and Polish social revolutionary magazines. In 1922 he took part in the “1. International Art Exhibition ”in Düsseldorf . Stanislaw Kubicki eventually became politically active and was a participant in the congress of the “Union of progressive international artists” . He and his wife lamented the “muddy opportunism” of the “all too established artist groups” in the commune's 1922 manifesto . In 1923 Kubicki joined the "Group of Progressive Artists", which had not yet been officially founded. After 1933, SA men destroyed works by Kubicki and his artist friends in several house searches. After the reprisals, he emigrated to Poland in 1934.

His last painting "Moses in front of the burning bush" from 1933/34 remained unfinished. In the years 1935 to 1938 he created his only sculptural work (and at the same time the only commissioned work) on the estate of Count Mycielskis in Kobylepole near Posen - a memorial in honor of Marshal Józef Piłsudski .

In 1939 Kubicki joined the Polish resistance group Wolność . As a courier, he brought information from Poland to the Berlin Embassy of Manchukuo , which from there went on to London. On the way back, he smuggled money into Poland for the resistance. He was arrested in mid-1941. Whether it fell into the hands of the Gestapo during an identity check in Warsaw or through the betrayal of an infiltrated spy has not yet been clarified. The exact date of death is also unknown. His last letter from Pawiak prison in Warsaw was postmarked January 14, 1942. In June, the family from Poland received news of Kubicki's murder.


On November 29, 2013 , a stumbling block was laid in front of his former home in Berlin-Britz , Onkel-Bräsig-Straße 46 . The stumbling block was donated by class 9c (school year 1913/14) of the Alfred Nobel School. The new stone laid on December 4, 2017 to replace the stumbling block that was stolen on November 6, 2017 contains a wrong year of death (1941 instead of 1942) and is to be replaced by a third version.


  • Lidia Głuchowska: Stanislaw Kubicki. Art and theory. 2nd Edition. WIR-Verlag, Berlin Sept. 2001, Oct. 2003, ISSN  0948-6313 .
  • Lidia Głuchowska, Peter Mantis: Stanislaw Kubicki. A poet translates himself. Poems between 1918–1921 / Poeta tłumaczy sam siebie. Wiersze from 1918–1921. WIR-Verlag, Berlin Oct. 2003, ISSN  0948-6313 (in German and Polish).
  • Lidia Głuchowska: Roger Loewig - Stanislaw Kubicki. Islands of Humanity - Wyspy człowieczeństwa. Foreword by Helmut Börsch-Supan and Jan Hoesch. WIR-Verlag, Berlin Oct. 2003, ISSN  0948-6313 (in German and Polish). Edited by the Roger Loewig Society. Exhibition catalog; 2003 exhibitions in Krzyżowa, seat of the “Kreisau” Foundation for European Understanding ; as well as in 2004 in the Architekturmuseum Breslau and in the Museum Nikolaikirche - Stadtmuseum Berlin.
  • Lidia Głuchowska: avant-garde and love. Margarete and Stanislaw Kubicki 1910–1945. Gebr. Mann, Berlin 2007, ISBN 978-3-7861-2541-9 (dissertation Humboldt University Berlin 2004).
  • G. Gruber: Kubicki, Stanislaw . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 82, de Gruyter, Berlin 2014, ISBN 978-3-11-023187-8 , p. 141 f.
  • Werner Röder; Herbert A. Strauss (Ed.): International Biographical Dictionary of Central European Emigrés 1933-1945 , Vol II, 1 Munich: Saur 1983 ISBN 3-598-10089-2 , p. 669.

Web links

Commons : Stanislaw Kubicki  - collection of pictures, videos and audio files

Individual evidence

  1. Destroyed Diversity Berlin 1933-1938-1945, portrait: Stanislaw Kubicki (1889-1942). (No longer available online.) In: The official capital city portal. Archived from the original on October 19, 2013 ; Retrieved October 18, 2013 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  2. Lidia Głuchowska: człowieku Dokąd? - czyli o poszukiwaniach artystycznych Stanisława Kubickiego. In: Ikonotheka. 17/2004, pp. 139–163
    Piotr Piotrowski: Central European Avant-Gardes: Exchange and Transformation 1910–1930 . Cambridge MA 2002, red. Timothy O. Benson: Expressionism and Futurism in Poland. Pp. 175-176.
    Timothy O. Benson, Éva Forgács (Ed.): Sourcebook of Central European Avant-Gardes, 1910–1930 . Between Worlds, Los Angeles 2002.
  3. A couple between East and West - Stanislaw Kubicki (1889–1942) and Margarete Kubicka (1891–1984). Critical Reports 2/2002, pp. 19–31; Lidia Głuchowska: Margarete i Stanisław Kubiccy a początki grupy Colorful . W: Colorful. Ekspresjonizm Poznański 1917–1925. [Catalog of an exhibition in Muzeum Narodowe in Poznań], ed. by Grażyna Hałasa i Agnieszka Salamon. Poznań, 2003, pp. 46-64.
    Lidia Głuchowska: Margarete and Stanislaw Kubicki - a German-Polish artist couple between Poznan and Berlin. [Margarete i Stanisław Kubicki - polsko-niemiecka para artystyczna między Poznaniem a Berlinem]. In: Małgorzata Omilanowska, Anna Straszewska (Ed.): Walks: Artist - Artwork - Motif - Donor. [Wędrówki: Artysta - Dzieło - Wzorzec - Fundator]. Warszawa 2005, pp. 129-149.
    The German-Polish artist couple Margarete and Stanislaw Kubicki in the Poznan Expressionist Association "Bunt". In: Katja Bernhardt, Piotr Piotrowski (Ed.): Overcoming boundaries. Festschrift for Adam S. Labuda . Berlin 2006, p. Unpagin.
  4. Lidia Głuchowska: Miejsca puste, czyli co nie nochodzi do głosu w obrazie. Tzw. epizod dadaistyczny w twórczości Stanisława Kubickiego. In: Maria Poprzęcka (ed.): Brak słów . Warszawa 2007, pp. 207-233
  5. Lidia Głuchowska: Tristan Tzara - monsieur dada i polskie konteksty dadaizmu. In: Rita Baum (13) Winter 2009, pp. 65–71
    Lidia Głuchowska: Avantgarde: Berlin - Poznań. In: Robert Traba (ed.): My, berlińczycy / Wir Berliner. History of a German-Polish neighborhood . Berlin 2009, pp. 160-195.
  6. Lidia Głuchowska: avant-garde and love. Margarete and Stanislaw Kubicki 1910–1945. Berlin 2007, pp. 72-76.
  7. Lidia Głuchowska: The Tower of Babel. Stanisław Kubicki's bilingual poems from 1918–1921 and the utopia of the “new man”. In: Marion Brandt (Ed.): Border crossing. Germans, Poles and Jews between Cultures (1918–1939) . Munich 2006, pp. 15-44.
  8. Lidia Głuchowska: Ostatni obraz. Mojżesz przed krzewem gorejącym Stanisława Kubickiego. In: Maria Poprzęcka (ed.): Wielkie dzieła, wielkie interpretacje . Warszawa 2007, pp. 215-228.
  9. Lidia Głuchowska: Stanislaw Kubicki. Art and theory. Berlin 2001, pp. 46-47.
  10. Lidia Głuchowska: between art and politics. Portrait of the German-Polish painter and poet Stanislaw Kubicki / Między sztuką a polityką. Portrait polsko-niemieckiego malarza i poety Stanisława Kubickiego. In: Dialog 62–63 / 2003, pp. 118–125
    Lidia Głuchowska: “Conspirators and Revolutionaries”. On the fate of the war artist and resistance courier Stanisław Kubicki. In: Inter Finitimos. 6/2008, pp. 100-117.
  11. ^ AG Rudow e. V. Stanislaw Kubicki - a German-Polish avant-gardist, accessed on December 6, 2016