Background
Laszczka was born into a large farming family in Masovia, the son of Antoni Laszczka and his wife Katarzyna, from Kupce village.
Laszczka was born into a large farming family in Masovia, the son of Antoni Laszczka and his wife Katarzyna, from Kupce village.
While in France, he studied at the École nationale supérieure des Beaux-Arts Academy.
Laszczka became the Rector of the Academy in 1911, however, for family reasons he resigned from this function in 1912. His talent was first discovered by the Ostrowscy family of landed gentry who sponsored his art studies in Warsaw in 1885 under the tutorage of January Kryński and Ludwik Pyrowicz. Soon later Laszczka received a scholarship from the Polish Society of Visual Arts (Towarzystwo Sztuk Pięknych) called "Zachęta" and went to Paris in 1891.
He received directions from such artists as Jean-Antoine Mercié, Alexandre Falguiere and Jean-Léon Gérômedical
He was also involved in the arts movement of the French Polonia. In 1897 Laszczka returned to Poland under foreign partitions and became a teacher in Warsaw.
In 1899 at the invitation of painter Julian Fałat, Laszczka settled in Krakow where he became the professor at the Academy of Fine Arts. In years 1900-1935 he was a director at the Sculpture Department there.
Among his students were: Stanisław Jackowski, Bolesław Biegas, Xawery Dunikowski, Ludwik Konarzewski, Franciszek Mączyński and Olga Niewska, among others
In years 1900-1910 he also cooperated as graphic designer and sculptor with ceramic factory of Józef Niedźwiecki in nearby Dębniki. Laszczka died in Krakow at the end of the Stalinist period and was buried there at the famous Rakowicki Cemetery. In his work Konstanty Laszczka followed the example of his master, the French sculptor Auguste Rodin.
The influence is most evident in a series of female nude studies, sculpted around the turn of the century and based on symbolic themes.
The earliest statue called "Zima (Konik polny)" (Winter The grasshopper) was made in 1895. Later, Laszczka created more female nudes overwhelmed with emotions, such as "Żal" (Grief) in 1901, and "Zasmucona" (Overwhelmed with Sadness) 1901–1902 now at a National Gallery (photo).
His connection with the Art Nouveau movement emanated from statues such as "West nieskończoność" (Eternally) from 1896–1897, "Nostalgia" (1903) and - inspired by Edvard Munch - "Krzyk" (The Scream) from 1902. He focused above all on sculpture, but also painted portraits, made medals, portrait medallions and occasional plaques.
In the late period of his artistic career he became interested in fired ceramics, with subject matter drawn from religious, folk and animal themes.
He was one of the founding members of the Society of Polish Artists called "Sztuka" (Art), with the aesthetic philosophy of the Young Poland Movement.