Dimensions: 85.7 x 61 cm
signed and described on the reverse: 'MARIA JAREMA | Figures 2 | no. CAT. 292 | monotype'
on the stretcher the marking, description and catalog number of the family archive: '"Figures" K. 292 | KF'.
Origins
collection of the artist's heirs
private collection, Poland (?)
Polswiss, 2002
private collection, Lodz
Exhibited
Maria Jarema, Palace of Art, Krzysztofory Gallery, Cracow, November 1962.
Maria Jarema, Krzysztofory Gallery, Cracow, 1966
Maria Jarema 1908-1958 Sculptures - paintings - drawings. Exhibition from the series: Students of Xawery Dunikowski, Xawery Dunikowski Museum, Branch of the National Museum in Warsaw, November 1978 - January 1979.
Literature
Maria Jarema, exhibition catalog, Palace of Art, Krzysztofory Gallery, Cracow 1962, p.50 (catalog of all works)
Maria Jarema, exhibition catalog, [ed.] Helena Blum, Krzysztofory Gallery, Kraków 1966, cat. no. 50 (?), p. nlb. (il.)
Maria Jarema 1908-1958: Sculptures - paintings - drawings. Exhibition from the series: Students of Xawery Dunikowski, exhibition catalog, [ed.] Anna Tyczyńska-Skromny, Warsaw, 1978, cat. no. 71.
Biography
Studied in 1929-35 at the Academy of Fine Arts in Cracow in the studio of X. Dunikowski. While still a student, she became affiliated with the Cracow Group, which brought together avant-garde artists with radical artistic and social views. She participated in exhibitions of the Group and ZZPAP, presenting sculptures at first, and only from 1938 paintings. At the same time, she worked as a stage designer and actress with the "Crico" theater, founded by her brother, Jozef Jarema, and with Adam Polewka's puppet theater. In 1937 she went to Paris for several months of study. In the post-war period, she took an active part in the political and artistic life of the Cracow art community. She exhibited extensively at home and abroad (including at the XXIX Venice Biennale), participated in scenography and sculpture competitions, and collaborated as before with the theater, this time Tadeusz Kantor's "Cricot 2." The 1950s were also the apogee of the development of her painting work. It was then that she created the monotype series Heads, Expressions, Rhythms, Filters and Penetrations. The artist created her own original world of forms endowed with great expressive power enhanced by the composition punishing them to intermingle in moving, changing arrangements.
