About Pete

Over the past 40 years Boleslaw Lutoslawski has photographed many of the greatest figures in the arts in Europe, spanning the worlds of music, literature, dance and theatre.

Arriving in London from his native Poland in 1980, he was immediately absorbed into the capital’s fast-moving cultural scene, taking portraits of the likes of Glenda Jackson, Sir Tom Stoppard, Simon Callow, Bill Brandt, Paloma Picasso, Sir Ernst Gombrich, Sir George Martin, Helaine Blumenfeld OBE, Sir Peter Hall, Sir John Tusa, Marina Warner, Lord Richard Rogers and John Peel on assignments for The Independent, Newsweek, BBC, Vogue and Harper’s & Queen, among others. His work, however, is not constrained by time or place. And it has absolutely nothing to do with fashion. Instead, it results from a moment of special affinity, a kind of spiritual kinship, between two different personalities – the photographer and sitter.

Before becoming a portrait photographer Bo Lutoslawski studied filmmaking at Lodz Film School (1967–71) and art history at Jagiellonian University (1971-76). He has lectured on film and photography at colleges and arts centres in the UK and Poland, and his work has been exhibited and published internationally including a minted coin in 2013. In addition to his photographic works, he has published several books in Polish, most recently the autobiographical Korzenie nie znają granic, which was praised by the noted writer Ryszard Kapuscinski.

“For Bo Lutoslawski taking a portrait is like falling in love. His technique is near-telepathic inside into his subject, the way they move, the way they think – a fleeting attempt to catch their true identity”

“Powerfully baroque and quintessentially Polish photographic images …. very exciting.” – Max Wykes-Jones in Arts Review

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About Pete

Over the past 40 years Boleslaw Lutoslawski has photographed many of the greatest figures in the arts in Europe, spanning the worlds of music, literature, dance and theatre.

Arriving in London from his native Poland in 1980, he was immediately absorbed into the capital’s fast-moving cultural scene, taking portraits of the likes of Glenda Jackson, Sir Tom Stoppard, Simon Callow, Bill Brandt, Paloma Picasso, Sir Ernst Gombrich, Sir George Martin, Helaine Blumenfeld OBE, Sir Peter Hall, Sir John Tusa, Marina Warner, Lord Richard Rogers and John Peel on assignments for The Independent, Newsweek, BBC, Vogue and Harper’s & Queen, among others. His work, however, is not constrained by time or place. And it has absolutely nothing to do with fashion. Instead, it results from a moment of special affinity, a kind of spiritual kinship, between two different personalities – the photographer and sitter.

Before becoming a portrait photographer Bo Lutoslawski studied filmmaking at Lodz Film School (1967–71) and art history at Jagiellonian University (1971-76). He has lectured on film and photography at colleges and arts centres in the UK and Poland, and his work has been exhibited and published internationally including a minted coin in 2013. In addition to his photographic works, he has published several books in Polish, most recently the autobiographical Korzenie nie znają granic, which was praised by the noted writer Ryszard Kapuscinski.

“For Bo Lutoslawski taking a portrait is like falling in love. His technique is near-telepathic inside into his subject, the way they move, the way they think – a fleeting attempt to catch their true identity”
Sophie Grove

“..an evocative photographer, with images that are so haunting, conjuring up stories from another time and place” Bem Le Hunte

Max Wykes-Jones in Arts Review:

“Powerfully baroque and quintessentially Polish photographic images …. very exciting.”

As Sir John Tusa puts it, Bo Lutoslawski is a

‘photographer with a deep insight into people and character, an extraordinary honesty and a capacity to reveal the identity of his sitters’.

Richard Avedon put it even more succinctly: these are

‘beautiful and strange photographs … full of deep feeling’.

“For Bo Lutoslawski taking a portrait is like falling in love. His technique is near-telepathic inside into his subject, the way they move, the way they think – a fleeting attempt to catch their true identity”

“Powerfully baroque and quintessentially Polish photographic images …. very exciting.” – Max Wykes-Jones in Arts Review

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Glenda Jackson by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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Primrose Hill by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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Bem Le Hunte by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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Kew Gardens by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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John Peel by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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BBC World Service by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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The Rambert Dance Company by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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Waterloo Bridge by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

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Albert van Nierop at Saint Paul’s Cathedral by Bo Lutoslawski

Albert van Nierop at  St Paul’s Cathedral with the afternoon sun on our backs.  set into the façade of this magnificent church built after the Great Fire of London in the seventeenth century.

buy a print, buy a photograph, buy art for the wall, buy art, buy ballet, buy a dancer, buy a framed print, framed print st pauls cathedral, ballet star,

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St. Paul’s In The Blitz by Herbert Mason

The Blitz: World War II: Britain: Air Raids: Fire of London. A symbol of survival.

St Paul’s Cathedral rises above the smoke and flames of one of the worst nights of bombing experienced in Britain.

On 29th December 1940 when the Thames was a low watermark and after the early bombing run had severed the water mains, the Luftwaffe’s aircraft dropped more than 10,000 incendiary bombs on the City. By some miracle, the landmark church and its dome remained untouched as thousands of firefighters and troops fought to prevent the ancient heart of London being destroyed by an inferno.

The picture was taken by Daily Mail photographer Herbert Mason – it became one of the most famous images of the war. When German bombers were making one of their heaviest raids, Mason climbed to the roof of the newspaper’s headquarters Northcliffe House. With incendiaries falling around him, he watched building after building around St Paul’s ablaze. Then he caught a glimpse of the Cathedral in a momentary gap in the smoke and recorded his historic picture. This picture is one of the huge Northcliffe collection