Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności"
The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as...
Ausführliche Beschreibung
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| Autor*in: |
Maria Jankowska-Andrzejewska [verfasserIn] |
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| Format: |
E-Artikel |
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| Sprache: |
Deutsch ; Englisch ; Polnisch |
| Erschienen: |
2018 |
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| Schlagwörter: |
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| Übergeordnetes Werk: |
In: Artium Quaestiones - Adam Mickiewicz University Press, 2024, (2018), 27 |
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| Übergeordnetes Werk: |
year:2018 ; number:27 |
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| DOI / URN: |
10.14746/aq.2016.27.8 |
|---|
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DOAJ096547626 |
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| 520 | |a The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. | ||
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10.14746/aq.2016.27.8 doi (DE-627)DOAJ096547626 (DE-599)DOAJ6d2cae2d9f63414dbbbd9d77329da361 DE-627 ger DE-627 rakwb ger eng pol NX440-632 N1-9211 Maria Jankowska-Andrzejewska verfasserin aut Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności" 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. modernity painting of the matter Thaw in Poland surface of a painting History of the arts Visual arts In Artium Quaestiones Adam Mickiewicz University Press, 2024 (2018), 27 (DE-627)DOAJ090665317 27194558 nnns year:2018 number:27 https://doi.org/10.14746/aq.2016.27.8 kostenfrei https://doaj.org/article/6d2cae2d9f63414dbbbd9d77329da361 kostenfrei https://pressto.amu.edu.pl/index.php/aq/article/view/14265 kostenfrei https://doaj.org/toc/0239-202X Journal toc kostenfrei https://doaj.org/toc/2719-4558 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_62 AR 2018 27 |
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10.14746/aq.2016.27.8 doi (DE-627)DOAJ096547626 (DE-599)DOAJ6d2cae2d9f63414dbbbd9d77329da361 DE-627 ger DE-627 rakwb ger eng pol NX440-632 N1-9211 Maria Jankowska-Andrzejewska verfasserin aut Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności" 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. modernity painting of the matter Thaw in Poland surface of a painting History of the arts Visual arts In Artium Quaestiones Adam Mickiewicz University Press, 2024 (2018), 27 (DE-627)DOAJ090665317 27194558 nnns year:2018 number:27 https://doi.org/10.14746/aq.2016.27.8 kostenfrei https://doaj.org/article/6d2cae2d9f63414dbbbd9d77329da361 kostenfrei https://pressto.amu.edu.pl/index.php/aq/article/view/14265 kostenfrei https://doaj.org/toc/0239-202X Journal toc kostenfrei https://doaj.org/toc/2719-4558 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_62 AR 2018 27 |
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10.14746/aq.2016.27.8 doi (DE-627)DOAJ096547626 (DE-599)DOAJ6d2cae2d9f63414dbbbd9d77329da361 DE-627 ger DE-627 rakwb ger eng pol NX440-632 N1-9211 Maria Jankowska-Andrzejewska verfasserin aut Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności" 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. modernity painting of the matter Thaw in Poland surface of a painting History of the arts Visual arts In Artium Quaestiones Adam Mickiewicz University Press, 2024 (2018), 27 (DE-627)DOAJ090665317 27194558 nnns year:2018 number:27 https://doi.org/10.14746/aq.2016.27.8 kostenfrei https://doaj.org/article/6d2cae2d9f63414dbbbd9d77329da361 kostenfrei https://pressto.amu.edu.pl/index.php/aq/article/view/14265 kostenfrei https://doaj.org/toc/0239-202X Journal toc kostenfrei https://doaj.org/toc/2719-4558 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_62 AR 2018 27 |
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10.14746/aq.2016.27.8 doi (DE-627)DOAJ096547626 (DE-599)DOAJ6d2cae2d9f63414dbbbd9d77329da361 DE-627 ger DE-627 rakwb ger eng pol NX440-632 N1-9211 Maria Jankowska-Andrzejewska verfasserin aut Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności" 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. modernity painting of the matter Thaw in Poland surface of a painting History of the arts Visual arts In Artium Quaestiones Adam Mickiewicz University Press, 2024 (2018), 27 (DE-627)DOAJ090665317 27194558 nnns year:2018 number:27 https://doi.org/10.14746/aq.2016.27.8 kostenfrei https://doaj.org/article/6d2cae2d9f63414dbbbd9d77329da361 kostenfrei https://pressto.amu.edu.pl/index.php/aq/article/view/14265 kostenfrei https://doaj.org/toc/0239-202X Journal toc kostenfrei https://doaj.org/toc/2719-4558 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_62 AR 2018 27 |
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10.14746/aq.2016.27.8 doi (DE-627)DOAJ096547626 (DE-599)DOAJ6d2cae2d9f63414dbbbd9d77329da361 DE-627 ger DE-627 rakwb ger eng pol NX440-632 N1-9211 Maria Jankowska-Andrzejewska verfasserin aut Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności" 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. modernity painting of the matter Thaw in Poland surface of a painting History of the arts Visual arts In Artium Quaestiones Adam Mickiewicz University Press, 2024 (2018), 27 (DE-627)DOAJ090665317 27194558 nnns year:2018 number:27 https://doi.org/10.14746/aq.2016.27.8 kostenfrei https://doaj.org/article/6d2cae2d9f63414dbbbd9d77329da361 kostenfrei https://pressto.amu.edu.pl/index.php/aq/article/view/14265 kostenfrei https://doaj.org/toc/0239-202X Journal toc kostenfrei https://doaj.org/toc/2719-4558 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_62 AR 2018 27 |
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Na marginesach odwilżowej "nowoczesności"</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2018</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. 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Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności" |
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The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. |
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The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. |
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The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces. |
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