The Organic Quality of Visual Form: The Artistic Bond between Zdzisław Ruszkowski and Henry Moore
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Zdzisław Ruszkowski (1907–1991), the son of a painter (Wacław Ruszkowski) and a graduate of the Cracow Academy of Fine Arts (1929), a member of the Pryzmat [Prism] group of Polish Colourists, left Poland for Paris in 1935. A dialogue with the old masters and with Bonnard’s Post-Impressionism constituted the main formative stimuli for Ruszkowski in the late 1930s. After the outbreak of the Second World War, he enlisted in the Polish Army in Brittany. Upon the collapse of the French front he joined the Polish armed forces in Scotland and, from 1940 onwards, all fi elds of his activity were connected with Great Britain. In the late 1940s, Ruszkowski created an original pictorial morphology which referred to Post-Impressionism by enhancing the decorative qualities of the chromatic patch. Ruszkowski developed his idiosyncratic pictorial idiom in the landscapes he painted in Cornwall in the 1950s. His friendship with Henry Moore implied a more “sculptural” rendering of the pictorial form. The artistic bond with Moore entailed, in the early 1960s, a theory of aureolism which constituted a cornerstone of Ruszkowski’s artistic practice. The aesthetic of “aureolism” which Ruszkowski developed until the end of his life embraced all of his previous experiences and fascinations.
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