KunstenaarPL
Maria Boczewska
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Stockholm's cobblestone lanes and waterfront views - Lilla Skinnarviksgränd, Söder Mälarstrand, the rooftops of Vita Bergen - recur across Maria Boczewska's prints with a quiet topographical affection. Born in Poland in 1940, she studied sculpture and architecture at the Academy of Fine Arts in Warsaw before moving to Sweden in the late 1960s. That background in three-dimensional form likely sharpened her sensitivity to the weight of facades and the geometry of streets, qualities that give even her flattest lithographic compositions a sense of spatial depth.
Boczewska's printmaking work centres on color lithography, a medium suited to the layered atmospheric light she brings to her Stockholm motifs. Her editions - often numbered in the low hundreds or as artist's proofs - place her work in the tradition of the Swedish printmaking revival of the 1960s and 70s, when graphic arts gained renewed status as an accessible and serious fine art form. Her oil paintings, including still lifes with grapes and plums and views across the city, show the same controlled palette and calm compositional voice.
The concentration on specific, named Stockholm streets situates her work firmly in the Södermalm cultural milieu that attracted many immigrant artists from the postwar period onward. Addresses like Fiskargatan and Stigbergsgatan are not generic city scenes but precise neighborhoods with their own social character - working-class areas that gentrified slowly and retained an older built fabric well into the decades when Boczewska was working.
On the Swedish auction market her works have appeared primarily through Metropol in Stockholm, along with Höörs Auktionshall, Södermanlands Auktionsverk, and Stockholms Auktionsverk. The Auctionist database currently holds 34 items attributed to her, with top recorded prices in the range of 2,400 SEK for a view of Riddarholmen. Her work circulates at accessible price points, consistent with a mid-career printmaker who built a loyal but regional audience. The active and repeat appearance of her lithographs at Stockholm-area houses over many years suggests a sustained local following.