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Kolejka i Matka Polka. O dwóch realizacjach Zbyluta Grzywacza.

100%
Maksymczak M.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2010
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issue 2(16)
66-76
EN
In 1982 Zbylut Grzywacz, as a member of an artistic group ‘Wprost’, made a project of a drawing of Monument of a Polish Mother. The artist presented the Polish Mother as an elderly woman exhausted by committing trivial and everyday’s activities. At the same time Grzywacz was working on an oil painting – a triptych titled A queue. Seven stages of a woman’s life, which he ironically called The Monument of a Polish Mother, as well. The work shows six naked women silhouettes and a baby. Each of the women holds a carrier bag in her hands. The silhouettes look like they are moving and going forward from the left to the right side. The painting depicts a human getting old as the artist says that it has come into being because of ‘his own feeling of the passing time’. On one hand, the work as the title suggests: The Queue, as well as the fact of giving it an ironical name: The monument of a Polish Mother, presents a difficult situation of a woman, or to be more general, a human living in a totalitarian country what was present in the twentieth century history of Polish country. On the other hand, the second part of the painting’s title, namely, Seven stages of a woman’s life implies that the work may be connected with universal problems of people’s lives. The aim of my paper is to point out that the work deals with a topic which is far from historic dimension, what has been showed by the means of a visual metaphor. In contrary to the above mentioned project of the drawing we will not find any national symbols in it. Although, the painting’s title describes the queues which were common in the Communist Poland, the work gives a rather general answer, which is void of presenting a certain place or some particular events. Such an artistic trick may be treated as the example of painting presenting reality more significantly. The painter’s metaphor used here, depicts the secret of human existence.
2
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Ku realizmowi. O przedstawieniach „szoferów” Andrzeja Wróblewskiego

100%
Maksymczak M.
Biuletyn Historii Sztuki
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2010
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vol. 72
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issue 4
479-498
EN
The subject of this article are the depictions of chauffeurs by painter Andrzej Wróblewski. A collection of these works arose between 1948 and 1956. The most famous of the pictures comprising this cycle are two oil paintings titled ‘The Blue Chauffeur’ (Szofer niebieski), dating from 1948 and ‘The Chauffeur’ (Szofer) of 1956. The enormous popularity of both studies, comprising alongside the series ‘Executed by Firing Squad’ (Rozstrzeliwani) the most frequently reproduced of the artist works, to some extent led to the presentations in gouache and watercolour of the same artist’s drivers.
3
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A LAMP WITH A TIN SHADE. ON PAINTINGS BY JACEK WALTOS (Lampa z blaszanym abazurem. O obrazach Jacka Waltosia)

100%
Maksymczak M.
Konteksty - Polska Sztuka Ludowa
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2010
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vol. 64
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issue 2-3(289-290)
276-282
EN
The topic of this article are three oil canvases by Jacek Waltos featuring the motif of the home: Great Improvisation - Small Stabilisation (1975), Awaiting, Ecstasy, Resignation (1977) and Threefold Pieta and the Fourth (1980). As a member of the 'Wprost' group the artist declared the realisation of painting involved in social issues, commenting on contemporary reality with the assistance of figurative depictions endowed with unambiguous contents. The works by Waltos are, against the backdrop of the 'Wprost' oeuvre, distinguished by their distance towards speaking unambiguously and a direct portrayal of the world. Their characteristic features include a sui generis lyrical approach and a sublimation of the form and contents. The originality of these depictions consists of a presentation of interpersonal relations transpiring in the scenery of the home. Each of the discussed canvases displays a lamp with a tin shade; by possessing a concealed meaning it constitutes a symbol of the space of the Sacrum. The lamp and the portrayed figures share different relations. In Great Improvisation - Small Stabilisation the soaring male figure consistently realises his wish to come closer to the lamp, despite the fact that the bulb is not shining. Awaiting, Ecstasy, Resignation features a contrary situation, since it is the rendered figure of a person, or more precisely, a woman sitting in an armchair, which assumes a passive attitude, while the glowing lamp, hanging from the ceiling, is located in the direct proximity of the sitter. Both motifs are focused in Threefold Pieta and the Fourth, in which kneeling figures assume an active stance and the lamp, once against suspended from the ceiling, draws them forth from the semi-shade. This, in turn, suggests a reference to so-called vertical relations, which connect the figures with empirically inaccessible space that corresponds to the idea of the home conceived as axis mundi and identified with a site that renders possible a link with God.
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