Edward Dwurnik, DANUTA DOBRZYÑSKA, 2014

100,0 x 73,0 cm - acrylic, canvas signed p.d.: 2014 E. DWURNIK, above dedication: FOR MY | LOVED | FRIEND

signed on the reverse on canvas p.g.: 2014 | E. DWURNIK | "DANUTA | DOBRZYÑSKA" | NR: XIV [in frame] - 180 | 5045 [in frame].



The Portrait series, created by Edward Dwurnik throughout his life, reveals the artist's genius in a special way. On the one hand, it is a display of the painter's perceptiveness and great painterly talent, who was able to capture both the likeness of the model and his psyche. On the other hand, Dwurnik developed his own painterly language, a "method" for the portrait, giving it a modern touch.In addition to the perfectly painted figures of the posers, the artist included in the paintings a handwritten description of the figure: name, surname, age, zodiac sign, education, profession, hobbies and other information to complete the characteristics of each model. Thanks to this layer, Dwurnik's portraits avoid the archaicness that contemporary portrait painting constantly suffers from.

Most of the portraits were created on the artist's initiative, a smaller number were commissioned. Among those portrayed were the artist's closer and distant family (wife Teresa Gierzynska, daughter Pola Dwurnik, the artist's in-laws, siblings, his wife's sisters), artist acquaintances (e.g., the Dunikowski family, Ewa Kuryluk, Przemyslaw Matecki and his wife), art historians and colleagues (e.g., Art. Agnieszka Morawińska, director of the Zachęta Gallery), as well as many prominent and respected artists from other fields, such as Maanam band singer Kora Jackowska, trumpeter and composer Tomasz Stańko, poet and songwriter Agnieszka Osiecka, journalist Monika Olejnik and others.

https://dwurnik.pl/galerie/prace-na-plotnie/



♣ a fee will be added to the auctioned price in addition to other costs, based on the right of the artist and his heirs to receive remuneration in accordance with the Act of February 4, 1994 - on Copyright and Related Rights (droit de suite).

Edward Dwurnik (Radzymin 19 IV 1943 - Warsaw 28 X 2018) studied painting at the Academy of Fine Arts in Warsaw (1963-1970), but cites Nikifor as his "master." It was his works, seen for the first time in 1965, that inspired the then third-year student to draw the first works of the "Hitchhiking Journeys" series, which he continued in the following years. In 1972-1978 was created the series "Sportsmen", which portrayed, add bitingly, typical figures of the 1970s. In parallel, from 1975 was created the series "Workers", which culminated in the period of "Solidarity" 1980-1981. For works from this series Dwurnik received the 1981 Art Criticism Award of Cyprian Kamil Norwid. Cyprian Kamil Norwid Art Criticism Award, while for his paintings from the series "Warsaw" (1981), prophetically foreshadowing martial law - he received the Cultural Award of the "Solidarity" underground in 1983. In the 1980s Dwurnik's painting took on expressive and dramatic expression. The paintings created in this decade often had a political overtone, they also took on a historical costume, in one way or another referring to contemporary issues and realities. The series "Road to the East" (1989-91) commemorated the victims of Stalinism, while the series "From December to June" (1990-94) - the victims of martial law. Both the ideological and purely painterly qualities of these works brought the artist great recognition, both at home and abroad. Its expression was the prestigious award of the Coutts & Co Foundation in Zurich (1992). In the 1990s, series are created as a continuation of "Hitchhiking Journeys": "Blue Cities" (from 1993) and "Diagonals" (from 1996), as well as compositions of a new type, such as sea views (the "Blue" series, 1992-93) and the "Enumeration" series (1996-99). The artist has exhibited extensively, has had about 100 solo exhibitions in Poland and abroad, and has participated in numerous national and international exhibitions and festivals, including: the 10th Biennale of Contemporary Art, Menton 1974, Documenta 7, Kassel 1982, the 5th Biennale, Sydney 1985, the 19th Art Biennale, Sao Paulo 1987; the Olympics of Art, Seoul 1988. In parallel with painting, he practiced drawing, collage, printmaking (lithography, metal techniques, xerography, stamps) and applied graphics (illustration, posters for his own solo exhibitions).