He was self-taught, not finished art school, or design, or even any high school, he spent a few months at the Municipal School of Decorative Arts. Despite these shortcomings in the official education earned him the title of one of the doyens of the Polish School of Poster.
The first project completed at the age of 16 years. In 1933 he won the competition for the poster for PKO, 1935 - for the poster for the Tychy brewery, in 1937 - the Grand Prix at the International Exhibition in Paris for the poster carefully. This was a project belonging to the series made in 1936-37 for the Institute of Social Affairs. In these warning posters presented mature individual style. While maintaining a realistic convention, eliminated all unnecessary items.
"He rejects everything that can unnecessarily distract the viewer's attention is focused completely on odzieraniu noun with adjectives, verbs, adverbs and conjunctions" - posted Jan Lenica.
In this way arose posters extremely focused, concise, ascetic, while saturated poetic reflection. He worked in difficult times, the ubiquitous poster of socialist realism. Trepkowskiemu managed to find an artistic gate. Posters did then a lot - fond of anniversaries and festivals system need appropriate visual setting and canvassing. Trepkowski, yes, created posters pathetic, willing to apply popular during this period so monumentalizujący treatment. "Frog perspective" (shot from the bottom), composed symmetrically, dramatyzował slant. However wove poster thread symbol, he used his own alphabet characters and metaphors distancing itself from the Soviet socialist realist impersonation scheme proletarian ideas. Instead, the form zapatrzonych the future Trepkowski painted objects - attributes of each profession - gun, trowel, hammer, ear, pallet, pencil. It's silent, alienated from the environment items were heroes posters Trepkowski. There is no people, no face, all the functions of psychological and spiritual seized items. The dead man abandoned by the world, is a source of great, tense emotions of sadness and nostalgia that radiates from posters Trepkowski. Proposed by the symbols became a staple of the language of plastic metaphors.
Special, full of anointing approach to the subject and its surroundings was the character trait Trepkowski.
"Laboratory Trepkowski (...) its climate resembled a doctor's office, her whole device was a small table with jars, saucers, brushes and pincetkami, table and easel. Reproduction and No books, no sketches, no trace of artistic disorder, which used to be associated workplace painter "- says John Lenica.
During the war years Trepkowski suspended the activities of design. He then composed of carbon. However, already in 1945, made a series of political propaganda for a branch of the Main Political-Educational Polish Army. He did posters for the Ministry of Railways (father Trepkowski there held a managerial position), the order for the pharmaceutical and chemical companies. In 1946-47 he was a correspondent for "Voice of the People" at the Nuremberg trials. In 1951, a short time he served as artistic director of the staff of "The World".
The different posters Trepkowski from existing conventions of socialist realism, meant that projects were often rejected.
"In the final output anything because there were killed, the elements cut from one poster popping up in another, scissors played in a slim range of work tools important role and operated by them with great freedom" - explains Lenica fate of rejected projects.
Indeed, in the work of Trepkowski symbolic motifs are repeated many times are like pasting a poster on the poster.
Lenica mentions specific, laboratory and focused work style Trepkowski:
"Throughout his legacy, apart from a few originals posters, survived a few sketches of projects. These are tiny cards that are at hand, where there was ready ideas (...). Trepkowski did not like to present projects or sketches for approval; made ready poster , finite and good in his own belief, and then presented it to the evaluation."
The specialty of Tadeusz Trepkowski remained poster political, social and health and safety, but in his other credits are the film projects (last stage, Hallelujah, My Universities - 1948, Battle Staliningradzka 1950, Lost tunes, 1953), theater (Case family 1952, Meridian 49, 1953), sports (Warsaw, 1952), party (Festival of Soviet units, 1949 National Exhibition of arts, 1951 Fair, 1954 Second Polish Music Festival, 1954), and even advertising (not preserved poster the brewery in Tychy, Polish Airlines, 1954). He was also interested in exhibiting artwork press, fine graphics advertising. He made about 80 posters.
Postwar Trepkowski awards include: a distinction in the United Nations in 1948, first prize at the National Exhibition Poster, posthumous honorary award at the National Exhibition Poster and Illustration in 1955. For its activities, he was awarded the Order of Polonia Restituta Polish and Golden Cross of Merit. He died unexpectedly of a heart attack in December 1954. Even after his death, in 1955, rejected earlier poster NO! Patron of the Warsaw Festival of Youth and Students. The three-storey reproduction suspended at the corner of Marszałkowska and Kielce became a peace manifesto generation, and at the same time a tribute to the artist who died suddenly. In 1955, the Publisher of Art and Graphic has established the annual award them. Tadeusz Trepkowski, dedicated to young designers (laureates include Roman Cieslewicz , Waldemar Świerzy , Maciej Urbaniec).