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"Picture with ared sky" (painting no 283) Painting

Krzysztof Pajak

Poland

Painting, Oil on Canvas

Size: 57.5 W x 47.2 H x 1.2 D in

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About The Artwork

I must admit that I am starting to write this text filled with anxiety, which comes from an ever-topical observation made in the 19th century by Eugene Delacroix1 :"Critical assessments of fine arts have been printed from time immemorial,and always,almost inevitably they have had their bad sides: firstly, they bore men of the world, for whom thi kind of writing is always ambigous, tiresome, and full of unclear terms, leaving their mind with a sense of something incomprehensible. Secondly, hate them, because such assessmets not only contribuate to progress in art, but they obscure the simplest problems, and whatever they explain, the explanations they offer are false". It is indeed very hard to translate truly, sincerly and authentically the much richer and deeper response to visual impressions into the language of lmperfect verbal notion. Can one, without a risk of beeing megalomaniac, comment on or evaluate a mere final result, not even trying to understand its context ?. Therefore, the anxiety mentioned en the beginning does not stem from a willingness to give the reader cheap thrills, just the opposite-it comes from the fear of the complexity of the problem I am going to deal with. I have had a chance to see several dozens canvases by Krzysztof Pająk: canvases varying in their final shape, different in guality and form, but at the same time cnnected by the common imperative of a genuine wish to create totally new aesthetic values. And yet, my assessement is of a very subjective, one could say- superficial character. I thus think that what I should aim at is not some penetrating, but illusory evaluative criticism of separate paintings: I should rather seek an answer to the guestion of the place, role,and function of Krzysztof Pająk's painting in Polish art of the erly 1990s. The artist seems to stand alone, far from the most influential centres of modern art. He does not follow any short-lived trends, as noticed by Georg Simmel2 ,"make one free from the burden of responsibility.The give an individual certainty that he is not alone in what he is doing". On the other hand, they restrain, inhibit, and paralyse a true artist. Thus, Krzysztof Pająk has chosen a more difficult road, wich would not be possible without a strong sense of self - confidence.It is not easy to determine the " future course of action".I guess that the artist himself would find it diffucult to foresee it. For the time being, he is fascinated - this seems to be just the right expression, by no means a pejorative one - with landscape painting. Both the artist's creative temperament and his present interests incline him to achieve the final form of his works by stratifying successive sequences of impressions and considerations as well as of mutual interactions between impulses. The townscapes thus created are reminscent of a poem inspired by experiencing and releasing some fervent emotions leads to the state of perfect satisfaction, and it is the laborious and solitary process of stiving for this "state of fulfilment that constitutes the power of both the artist himself and his artistic narration. Among the sources of Krzysztof Pająk's painting we find parallel motifs of 19th century townscapes, idealism of architecture of Renaissance Italian towns as well as an echo of Warhol's serigraphy, or painting of the Cobra group. Those less familiar with the history of may think that such a way of constructing canvases has ben derivved from pointillism.This, however, seems to be true only to a certain extent.Obviously,it is difficult for a contemporary artist to take no account of the experience accumulated by past generations of artists who followed solitary paths leading to sheer perfection.What he should do, however, is contribute s0me new personal experience to the quest for the universe called "beauty". Edmond Duranty3 in his recommendations to painters demanded: "You should not paint what you see. what would the use of painting be then ? It should serve only to show us things that not exist.( ...) What happens around us is uninteresting, just because we can see it every day". Krzysztof Pająk seems to comly with this clear and timeless message of the great thinker.It is confirmed definitely and unequivocally by this exhibition. Thanks to his high standatd of professionalism and honesty in the implementation of his projects, the artist makes one consistent whole of the visible and the unnamed, the past and the enigmatic. Krzysztof Pająk continues his quest for new solutions, he is still on his way.With all the greater hope, attention and friendliness we should follow his future actions. 1.Delacroix Eugene, "On Art Critics", in: "Oeuvres litteraires", Paris, 1923, pp.1-7 2.Simmel Geog, "Philosophie der Mode", Berlin, 1905, p.181 3.Duranty Edmond, "Notes sur 1' art", in : "Realisme", 10 july 1856, pp.1-2 Jacek Werbanowski 1990r tekst do katalogu wystawy w galerii "Test" art historian Editor-in Chief of " Exit" ( New Art in Poland)

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:57.5 W x 47.2 H x 1.2 D in

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1956 Warsaw, Poland. I am a painter, as well as designer and a photographer. More than 40 individual exhibitions. Participated in more than 250 group exhibitions, Participated in 60 charity auctions.

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