Rajmund Ziemski, FERETRON, 1972

160,0 x 70,0 cm - oil, canvas signed l.d.: RAJMUND ZIEMSKI | 72

On the reverse p.g.: RAJMUND [further illegible]; on the upper bar a printed sticker with a description of the painting; middleground on the canvas a sticker with the number: DI 95/76 DOBB; on the lower bar of the loom: 186/79.



Image reproduced and described:

- Aleksander Wojciechowski, Polish Contemporary Painting. Directions - programs - works, Interpress Publishing House, Warsaw 1977, il. p. 113 [as Feretron, 1973];

- Joanna Kania (ed.), Jola Gola, Maryla Sitkowska (collaboration), Rajmund Ziemski. Painting, Academy of Fine Arts in Warsaw, Zachęta National Gallery of Art, Warsaw 2010, cat. no. 390, color ill. [on accompanying CD; as Feretron, 1973, not found, known from reproduction].



♣ 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).

Rajmund Ziemski (Radom 1930 - Warsaw 2005) studied painting from 1949 to 1955 under Artur Nacht-Samborski at the Academy of Fine Arts in Warsaw. In his graduating year he took part in the National Exhibition of Young Visual Arts at the Warsaw Arsenal. Since 1958, he has been teaching at his alma mater, running a painting studio there, one of the most popular among students as a graduation studio. The professor who runs it is also an artistic authority, one of the most prominent representatives of the current of non-geometric abstraction in Polish postwar painting. In his early series "Birds" (1957-1958), he operated with highly simplified shapes, painted impasto on backgrounds that were usually dark and often richly textured. Beginning in the early 1960s, Ziemski's paintings took on the characteristic shape of an elongated rectangle, with allusive fields of color and texture spreading out in its fields like stretched, dramatic sheets. They bore titles suggesting connections with nature, but they were dominated by the painter's interest in color and matter, treated autonomously, separate from any object suggestions. These returned in a notable episode from the mid-1960s, when the artist incorporated photographic images of human faces into the structure of his paintings, then often combined into Triptychs. He later abandoned this practice in favor of further developing his color attempts, going in the direction of sharp contrasts and sometimes cacophonous juxtapositions. He remains committed to the method of titling and labeling his works, which was established back in the 1960s (the large "Landscapes" series, which is still painted today, with paintings numbered with a number broken by the annual date).