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MARIA JANKOWSKA-ANDRZEJEWSKA
So far no one has addressed the basic question of different artistic responses to the
problem of searching for the limits of the painting, and related attempts to enhance
the painterly idiom which was at the same time disrupted in a number of ways.
The author analyzes works selected from the set of about three hundred items
found in thirteen Polish museums. Regardless of the individual differences, the paint-
ings by Jadwiga Maziarska, Bronislaw Kierzkowski, Adam Marczyński, Teresa
Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional sub-
stances and surface composition. Paradoxically, the decision to abandon paint did not
make those artists deny the superior role of the surface, which resulted in the crea-
tion of works oscillating among painting, relief, and sculpture, close to collages or as-
semblages, yet quite specific. Their works either exploited the conditions offered by
the framed flat surface or brought into play new, autonomous surfaces.
MARIA JANKOWSKA-ANDRZEJEWSKA
So far no one has addressed the basic question of different artistic responses to the
problem of searching for the limits of the painting, and related attempts to enhance
the painterly idiom which was at the same time disrupted in a number of ways.
The author analyzes works selected from the set of about three hundred items
found in thirteen Polish museums. Regardless of the individual differences, the paint-
ings by Jadwiga Maziarska, Bronislaw Kierzkowski, Adam Marczyński, Teresa
Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional sub-
stances and surface composition. Paradoxically, the decision to abandon paint did not
make those artists deny the superior role of the surface, which resulted in the crea-
tion of works oscillating among painting, relief, and sculpture, close to collages or as-
semblages, yet quite specific. Their works either exploited the conditions offered by
the framed flat surface or brought into play new, autonomous surfaces.