Maria Ewa Łunkiewicz-Rogoyska (1895–1967) was associated with the international and Polish avant-garde. For many years she cooperated with the pioneer of Polish avant-garde, and her friend, Henryk Stażewski. To escape traditional realism, she used a modern artistic language, characterized by simplification, geometrization of forms, and the use of flat patches of vivid colors. Her work is a testimony to the growing importance of women in Polish art, culture, and social life in the 1920s and 1930s. Only 60 of the artist's works survived World War II. The rest were destroyed during the Warsaw Uprising in 1944.
艺术家玛丽亚-伊娃-伦基维茨-罗戈伊斯卡（Maria Ewa Lunkiewicz-Rogoyska, 1895–1967）与国际和波兰先锋派的联系十分紧密。多年来，她与波兰先锋派的先驱，同时也是她的朋友，艺术家亨利克-斯塔热夫斯基（Henryk Stazewski）合作。为了避开传统的现实主义，她使用了一种现代艺术语言，其特点是形式的简化、几何化，以及使用鲜艳生动的平面色块。她的作品证明了20世纪20年代到30年代波兰女性在艺术、文化及社会生活中的重要性日益增加。这位艺术家的作品只有60件在二战中保存下来，其余的在1944年华沙起义期间被损毁。
The Royal Castle Square is shown from above, from the side of Krakowskie Przedmieście. Its main figure is Zygmunt's Column (King Sigismund's Column). On the right side you can see the Royal Castle with the Clock Tower; on the left, Old Town houses and the neo-gothic gable of the façade of St. John. The square was built from 1818 to 1821 after the demolition of the buildings in front of the Castle and the defensive walls with the Kraków Gate. During the interwar period, it was an important point in the city due to the Castle, which in 1926 became the seat of the President of the Republic of Poland. The signs of modernity in the painting are not only synthetic forms, but also numerous cars about which the painter was passionate.
这幅作品对皇家城堡广场的取景是以克拉科夫郊区街一侧俯瞰的视角来展现的。这幅画的主要对象是齐格蒙特之柱（国王西吉斯蒙德的纪念柱）。在右侧可以看到带有钟塔的皇家城堡；左边则是老城房屋和圣约翰教堂正面的新哥特式三角墙。该广场建于1818年至1821年，是在拆除城堡前的建筑物和包括克拉科夫城门在内的防御城墙后建造的。在两次世界大战期间，由于城堡的存在它成为城市中一个重要的地标，在1926年它成为波兰共和国总统的所在地。在这幅画中，现代化的标志不仅仅是其综合的构图形式，还有画家本人非常钟爱的大量汽车元素。
We present today's painting thanks to the Museum of Warsaw. : )
感谢华沙博物馆与我们分享今天的画作。:)
