Wà Âadysà Âaw Strzemià Âski (<small>Polish pronunciation</small>: ; ; 21 November 1893 â 26 December 1952) was a Polish painter, art theoretician, pedagogue, and soldier. He is regarded as a pioneer of Constructivist avant-garde of the 1920s and 1930s and the developer of the theory of unism (Polish: unizm).
Strzemià Âski was born in Minsk to Maksymilian Strzemià Âski and Ewa Rozalia Olechnowicz, both of whom were ethnically Polish and cultivated Polish traditions. His father was a lieutenant colonel in the Imperial Russian Army, who hoped for a military career for his son. In 1914, Wà Âadysà Âaw Strzemià Âski graduated from the Military School of Civil Engineering in Saint Petersburg. During World War I, he served as second lieutenant at the Osowiec Fortress. In 1915, he was severely wounded and crippled in the Attack of the Dead Men, where he became the commander after the death of Vladimir Kotlinsky and for which he received the Order of St. George. The injuries were so acute that portions of Strzemià Âski's right leg and left arm were amputated, and he partially lost sight in one of his eyes. In 1920, he married painter Katarzyna Kobro.
In 1922, he moved to Wilno (now Vilnius), and in the following year supported Vytautas Kairià «kà ¡tis in creating the first avant-garde art exhibition in what is now the territory of Lithuania (then part of Poland, under Polish rule).
In November 1923, he moved to Warsaw, where with Henryk Berlewi he founded the constructivist group Blok.
During the 1920s, he formulated his theory of Unism (Unizm in Polish). His paintings influenced the musical compositions of Polish composers Zygmunt Krauze, the creator of unistic music, and Marcin Staà Âczyk, the inventor of Aftersounds (inspired by Strzemià ÂskiâÂÂs Afterimages). He is an author of a revolutionary book titled "The theory of vision". He was co creator of unique avant-garde art collection in à Âódà º gathered together thanks to the enthusiasm of members of the "a.r." group as Katarzyna Kobro and Henryk Staà ¼ewski (the artists) and Julian Przyboà  and Jan BrzÃÂkowski (the poets).
In postwar à Âódà º, Strzemià Âski was an instructor at the Higher School of Plastic Arts and Design Neoplastic Room at the Museum of Art, à Âódà º, where one of his students was Halina Oà Âomucka, survivor of the Nazi concentration camps. His Neoplastic Room was installed in the museum in 1948 but was removed in 1950 as it failed to fit in with the socialist realist aesthetic imposed by Wà Âodzimierz Sokorski, the minister of culture of the Polish United Workers' Party.
His works have been exhibited in such museums around the world as Centre Pompidou, Museo Reina Sofia, Moderna Museet Malmö and Whitechapel Gallery.
He is the subject of Afterimage (2016), the final film by Andrzej Wajda.