Dimensions: painting size 78x78 cm
dimensions of spatial objects:
14 x 17 x 17 cm
8 x 17 x 17 cm
5 x 17 x 17 cm
signed, dated and described on the reverse: '[mounting directions] | ADAM MARCZYŃSKI "DECOMPOZYCJA ZDET. 3" 1972 78x78'
signed and described on the backs of the spatial objects
on the backs of three spatial objects stickers DESA Works of Modern Art - Foreign Trade Company
Origin
private collection, Poland
Exhibited
Adam Marczyński, Krzysztofory Gallery, Cracow, December 1972-January 1973
"Polnische Kunst nach 1973: Lyrische und geometrische Abstraktion," Galerie Lauter, Mannheim, 3.11-2.12.1973.
Adam Marczynski, Gallery 72, Chelm, 20.02-20.03.1975
Adam Marczynski. Works from 1970-1975, University Gallery, BWA University of Silesia, Cieszyn, January-February 1986.
Adam Marczyński (1908-1985), Bunkier Sztuki Gallery, Cracow, 18.12.1999-16.01.2000
Literature
Adam Marczyński, exhibition catalog, Krzysztofory Gallery, Cracow 1972 (il.).
Mariusz Hermansdorfer, Adam Marczyński, "Odra", no. 7/8, 1973, p. 72 (ill.; as "Decomposition")
Adam Marczynski, exhibition catalog, Gallery 72, Chelm 1975, nlb. (ill.; as "Decomposition 16")
Bożena Kowalska, Adam Marczyński 1908-1985, "Projekt", no. 3, 1985, p. 10 (ill. no. 33)
Adam Marczynski. Works from 1970-1975, exhibition catalog, University Gallery, BWA University of Silesia, Cieszyn 1986, cat. no. 2, nlb.
Adam Marczynski. Painting, edited by Janusz Orbitowski, Cracow 1998, nlb. (il.)
Katarzyna Bik, Forgotten Classic, "Gazeta Wyborcza" (Krakow, supplement "Gazeta w Krakowie"), no. 3, 2000 (il.).
Biography
Studied at the Academy of Fine Arts in Cracow from 1929-36. In the 1930s he became associated with the Cracow Group, and participated in its reactivation in 1957. His participation in the work of the Association was associated with a sometimes sharp conflict with T. Kantor and his closest "entourage". It seems that Adam Marczynski - next to M. Jarema - was the most outstanding painter of the Group. From 1945 until his retirement he worked at the Academy of Fine Arts, where he led the painting studio. Since 1950 he was its professor. In addition to painting, he practiced drawing, printmaking (monotypes) and stage design. He is the author of highly regarded church polychromies (Nowy Wiśnicz, Tarnów Cathedral, Ratułów, Brzesko, Sokołów Małopolski). He was the author of book illustrations - "Blue pages" by A. Rudnicki, "Kidnapping in Tiutiurlistan" by W. Żukrowski, "Memoirs" by Pask, "Restless hours" by I. Jurgielewiczowa and others. He is considered one of the most important representatives of the Polish avant-garde. In Marczyński's early works, the influences of Cubism and Colorism are evident. After the war, he created lyrical compositions inspired by the art of Paul Klee and Joan Miro. The next stage of his work was in the 1960s - at that time the artist joined the current of matter painting, creating collages - from broken boards, partially burnt slats, sheets of veneer, pieces of cardboard and rusty sheet metal . In the 1970s he made compositions from small coffers with tilting, movable walls.
