2006 | 60 | 1(272) | 100-109
Article title

Harmonia mundi. Several reflections on the Imagery of Stanislaw Fijalkowski

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The retrospective exhibition of paintings, drawings and graphic art by Stanislaw Fijalkowski, held in 2003 in Poznan, Wroclaw and Warsaw, brought the public closer to the oeuvre of this acclaimed author, already regarded as a classic of contemporary art. Fijalkowski, born in w 1922, studied at the State Art Academy in Lódz in 1946-1951 under L. Tyrowicz, S. Wegner and W. Strzeminski, his master. Influenced by the avant-garde tradition of the Lódz milieu, he rapidly transcended its conceptions and established the principle of his own creativity, based on an individual perception of the world and excellent philosophical and theatrical training. For years, Fijalkowski sought inspiration in the resources of world cultural heritage, benefiting from the theory of archetypes formulated by C. G. Jung, philosophical thought, the science about symbols, anthropology of culture, literary imagination, mythology, Judaeo-Christian tradition, the symbolic of numbers, elements of Far Eastern spirituality, and the art of his great predecessors: Expressionists, Surrealists and Constructivists, i. a. V. Kandinsky, whose texts: 'Point,Line and Surface and On the Spiritual in Art' he translated. Fijalkowski's abstract art is suffused with meaning and based on the subconscious, the intuition, the imagination, the spiritual experiencing of all phenomena and the symbolic 'prototypes of form'. The distinctive trait of his compositions consists of an unusual repertoire of plastic 'signs' such as circles, spheres, triangles, cubes, ellipses, cylinders, cones, arches, strips, figures, fields of dots and lines, as well as the heads, profiles, wings and outlines of angels, and thus geometrical and biomorphic forms, always subjected to rhythms, inserted into smooth surfaces or vertical, horizontal and transverse divisions, which act as the construction core of his compositions. The most outstanding works include 'Paintings for Waleria' (the artist's wife), brimming with 'colourist sensitivity', 'Talmudic Studies, Highways' (metaphors of spiritual 'elevation') and compositions commemorating Solidarity and dealing with the motif of the martial law period in Poland during the early 1980s. The author employs various graphic techniques, including woodcut, etching, aquatint, lithography, and linoleum block printing, which serve as an excellent means of expression; he is just as successful in applying computer graphics. Fijalkowski always supports the 'open form' of his works which enables them to be constantly supplemented and rediscovered by the imagination of the viewer, based on the latter's own associations.
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  • A. Melbechowska-Luty, no address given, contact the journal editor
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