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JACEK SEMPOLINSKI

100%
Melbechowska-Luty A.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
189-192
EN
The authoress outlines the artistic biography and geography of the titular artist, whose life followed two courses - between the large city and rural existence. The artist became acquainted with the towns of Italy, France, Spain and The Netherlands, while simultaneously immersing himself in the life of the Polish province, where he worked. Sempolinski experienced the landscape as a sign of an energy that creates being and as ontological knowledge about the construction of space and matter.
2

THE IMAGINARY WORLD OF JERZY MARKIEWICZ (Jerzego Markiewicza swiat wyobrazony)

100%
Melbechowska-Luty A.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 1(280)
170-176
EN
Jerzy Markiewicz (1928-2003) was an amateur artist and a self-taught professional. He studied in the Department of Farm Mechanization at the Warsaw University of Life Sciences, but his passion for art predominated. Markiewicz was a greatly talented man of imagination, creative vigour, and special sensitivity. The author of ceramic bas-reliefs and figures with a synthetic, cohesive form and rounded surface, he also illustrated children's book, either his own or those by other authors, and carved decorative compositions made up of numerous small figures (The Circus, Noah's Arc). In about 1898 Markiewicz decided to concentrate on oil painting, producing fantastic depictions of people and animals in unreal landscapes. He also tested his skills as the author of posters and executed kinetic sculptures entitled Birds and Kites. His works were shown in Warsaw, Poznan, Sofia, Brno, London, Spain and Japan. As the editor of agricultural periodicals he often travelled all over Poland and always remained close to rural life, reflected in his oeuvre. In 1971-1972 Markiewicz designed a larch house in the village of Kikoly, built by highlanders from the Spisz region and roofers from the Suwalki region, and outfitted it with hand-made appliances, utensils, paintings and drawings. Suffering from a serious heart condition, he spent the last years of his life painting a frieze telling the story of the passage of time, and constructed a three-dimensional composition The Eye of Providence in six scenes.
3

THE FIGURE OF THE HORSE IN POLISH CULTURE. NOTES FROM PRIVATE HYPOLOGY (Figura konia w kulturze polskiej. Zapiski z prywatnej hipologii)

100%
Melbechowska-Luty A.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 4(287)
151-158
EN
A panoramic attempt at depicting the motif of the horse in Polish post-partition art, which featured the ethos of chivalry, struggle and heroism as well as tradition, customs and work associated with the gentry manor house and the countryside. Another component was the enormous sentiment and even love for the horse, the only creature to be endowed with a soul. The Polish mythology of the steed revealed a specific type of historical memory supporting the feeling of national identity, of great significance for generations living during the partition era. Artists resorted to traditional images of past centuries, created heroic narrations about the deeds of famous men and celebrated battles and knightly duties; here, horse and man are heroes enjoying equal rights.
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