Between 1914 and 1917, Szwarc traveled through the Russian Empire, spending time in Odessa and Kiev, and working in the Jewish literary circle of Mendele Moykher-Sforim, Ahad Ha-Am, and Ḥayim Naḥman Bialik.
It was during this period between the wars that he produced some of his most outstanding and original work in hammered copper, exhibited in the Salon des Tuileries and the subject of a monograph by the celebrated art critic Louis Vauxcelles.
[6] Szwarc participated in the important 1922 Düsseldorf Congress of the International Union of Progressive Artists, where signed its founding proclamation alongside Jankel Adler, and Stanislaw Kubicki, as representatives of the Polish Avant-Garde.
[8] In 1929, the distinguished critic and novelist Ludwig Lewinsohn described Szwarc as an "interesting phenomenon in the history of civilization" writing that his "profound and instinctive Jewishness will in the long run broaden and not narrow the appeal of his arresting and vital work".
After the war he returned to Paris with his wife and daughter, Tereska Torrès who had served in the Free French Forces of General Charles de Gaulle in London.
The artist's works are on display in museums, public halls, places of worship, and private collections in Poland, Israel, Montreal, Caracas, the United States, and England.