DOI Page / Citation link:
https://doi.org/10.11588/diglit.55687#0378
374
Irena Kossowska
ki-pelna-tresc/-/eo_event_asset_publisher/eAN5/
content/marek-zulawski, dostęp: 06.08.2013.
Lewin (1983) = Lewin, Marchew: „Art”, НАМ &
Я/СЯ, 221 (1983): 3.
Newton 1955 = Newton, Erie: „Ruszkowski and Hay-
den”, Art News and Review, 12X1 (1955): 3-4.
Newton 1957 = Newton, Erie: „Colour, Space and
Light”, Time and Tide, 26 X (1957): 4.
Newton 1960 = Newton, Erie: „Ruszkowski and Żuław-
ski”, The Guardian, 31 X (1960): 4.
Newton 1963 = Newton, Erie: „At the galleries”, The
Guardian, 20 IV (1963): 4.
Phelps 1987 = Phelps, Edward: „Zdzisław Ruszkowski,
Jabłoński Gałłery”, Arts Review, 27 X (1987): 3.
Pitoń 2002 = Pitoń, Helena: „Marek” [w:] Marek i Ja-
cek Żuławscy: malarstwo, rysunek, Wojciech Zmo-
rzyński (red.), katalog wystawy, Muzeum Narodowe
w Gdańsku, Gdańsk 2002: 12-22.
Read 1955 = Read, Herbert J.: „Roland, Browse & Del-
banco”, Art, 24X1 (1955): 5.
Rouve 1958 = Rouve, Pierre: „Of taste and trance”, Art
News and Reoiew, 20 III (1958): 3.
Ruszkowski 1966 = Ruszkowski, Zdzisław: „«Aure-
olism»: A Theory Concerning Painting” [w:] Jo-
sef Paul Hodin: Ruszkowski. Life and Work, Córy,
Adam & Mackay, London 1966: 65-66.
Simonow 2007 = Simonow, Michael: Ruszkowski 1907-
1991: Catalogue of Paintings and Sculptures from the
Simonow Collection, Art et Caractere, Lavaur 2007.
Talbot 1983 — Talbot, Linda: „Insight into an odginał”,
НАМ & HIGH, 28 I (1983): 2.
Talbot 1986 = Talbot, Linda: „Ever the optimist”,
Hampsteadand Highgate Express, 24 X (1986): 2.
Trilithon 1963 = Trilithon, Rex: „Zdzisław Ruszkow-
ski”, The Arts Reoiew, 4-18 V (1963): 3.
W. T. O. 1966 = W. T. O.: „Painter in love with life”,
The Yorkshire Post, 6 X (1966): 4.
Irena Kossowska
The "Aureolism" of Zdzisław Ruszkowski:
London, Venice, Loch Maree
Zdzisław Ruszkowski (1907-1991), son of a painter (Wacław), graduate of the Kraków Academy of Fine
Arts (1929), member of the Pryzmat (Prism) group of Polish colorists, left Poland for Paris in 1935.
A dialog with the Old Masters at the Louvre as well as Bonnards postimpressionism and the landscape of
the south of France constituted the main formative influence for Ruszkowski in the łatę 1930s. After the
outbreak of World War II, he enlisted in the Polish Army in Brittany. On the collapse of the French front
he joined the Polish armed forces in Scotland, and from 1940 on all the fields ofhis activity - his personal
life and his professional career as a painter - remained connected to Great Britain. He married Jeniffer
Mc Comek in 1941 and moved to her family house in London. In the late 1940s Ruszkowski created an
original pictorial morphology referring to postimpressionism and enhancing the decorative qualities of
the chromatic parch. He developed his idiosyneratie pictorial idiom in the landscapes which he painted
in Cornwall in the 1950s: a painting perceived through the prism of emotions and memories was to be
completed in the studio. His friendship with Henry Moore implied a morę “sculptural” rendering of the
pictorial form. During his visits to Yenice in the early 1960s Ruszkowski formulated a theory of Aureolism
which constituted a cornerstone ofhis artistic practice. Neighboring complementary chromatic tones, in
the artists view, produce a third color while evoking a specific aura. The aesthetic of Aureolism which
Ruszkowski kept developing till the end ofhis life, embraced and transposed all the previous experiences
and fascinations: the interiorization of the landscape observed, the expressive color of Van Gogh, the
chromatic structure ofCezannes paintings, the decorativeness ofBonnards compositions, the biomorphic
sculpture of Moore. In the 1960s and 1970s Ruszkowski executed mostly plain air paintings in a desolated
old house/studio in Loch Marre. The proposed interpretative context for Aureolism is the work of Piotr
Potworowski and Marek Żuławski, rwo Polish emigre artists active and acclaimed in Great Britain.
Irena Kossowska
ki-pelna-tresc/-/eo_event_asset_publisher/eAN5/
content/marek-zulawski, dostęp: 06.08.2013.
Lewin (1983) = Lewin, Marchew: „Art”, НАМ &
Я/СЯ, 221 (1983): 3.
Newton 1955 = Newton, Erie: „Ruszkowski and Hay-
den”, Art News and Review, 12X1 (1955): 3-4.
Newton 1957 = Newton, Erie: „Colour, Space and
Light”, Time and Tide, 26 X (1957): 4.
Newton 1960 = Newton, Erie: „Ruszkowski and Żuław-
ski”, The Guardian, 31 X (1960): 4.
Newton 1963 = Newton, Erie: „At the galleries”, The
Guardian, 20 IV (1963): 4.
Phelps 1987 = Phelps, Edward: „Zdzisław Ruszkowski,
Jabłoński Gałłery”, Arts Review, 27 X (1987): 3.
Pitoń 2002 = Pitoń, Helena: „Marek” [w:] Marek i Ja-
cek Żuławscy: malarstwo, rysunek, Wojciech Zmo-
rzyński (red.), katalog wystawy, Muzeum Narodowe
w Gdańsku, Gdańsk 2002: 12-22.
Read 1955 = Read, Herbert J.: „Roland, Browse & Del-
banco”, Art, 24X1 (1955): 5.
Rouve 1958 = Rouve, Pierre: „Of taste and trance”, Art
News and Reoiew, 20 III (1958): 3.
Ruszkowski 1966 = Ruszkowski, Zdzisław: „«Aure-
olism»: A Theory Concerning Painting” [w:] Jo-
sef Paul Hodin: Ruszkowski. Life and Work, Córy,
Adam & Mackay, London 1966: 65-66.
Simonow 2007 = Simonow, Michael: Ruszkowski 1907-
1991: Catalogue of Paintings and Sculptures from the
Simonow Collection, Art et Caractere, Lavaur 2007.
Talbot 1983 — Talbot, Linda: „Insight into an odginał”,
НАМ & HIGH, 28 I (1983): 2.
Talbot 1986 = Talbot, Linda: „Ever the optimist”,
Hampsteadand Highgate Express, 24 X (1986): 2.
Trilithon 1963 = Trilithon, Rex: „Zdzisław Ruszkow-
ski”, The Arts Reoiew, 4-18 V (1963): 3.
W. T. O. 1966 = W. T. O.: „Painter in love with life”,
The Yorkshire Post, 6 X (1966): 4.
Irena Kossowska
The "Aureolism" of Zdzisław Ruszkowski:
London, Venice, Loch Maree
Zdzisław Ruszkowski (1907-1991), son of a painter (Wacław), graduate of the Kraków Academy of Fine
Arts (1929), member of the Pryzmat (Prism) group of Polish colorists, left Poland for Paris in 1935.
A dialog with the Old Masters at the Louvre as well as Bonnards postimpressionism and the landscape of
the south of France constituted the main formative influence for Ruszkowski in the łatę 1930s. After the
outbreak of World War II, he enlisted in the Polish Army in Brittany. On the collapse of the French front
he joined the Polish armed forces in Scotland, and from 1940 on all the fields ofhis activity - his personal
life and his professional career as a painter - remained connected to Great Britain. He married Jeniffer
Mc Comek in 1941 and moved to her family house in London. In the late 1940s Ruszkowski created an
original pictorial morphology referring to postimpressionism and enhancing the decorative qualities of
the chromatic parch. He developed his idiosyneratie pictorial idiom in the landscapes which he painted
in Cornwall in the 1950s: a painting perceived through the prism of emotions and memories was to be
completed in the studio. His friendship with Henry Moore implied a morę “sculptural” rendering of the
pictorial form. During his visits to Yenice in the early 1960s Ruszkowski formulated a theory of Aureolism
which constituted a cornerstone ofhis artistic practice. Neighboring complementary chromatic tones, in
the artists view, produce a third color while evoking a specific aura. The aesthetic of Aureolism which
Ruszkowski kept developing till the end ofhis life, embraced and transposed all the previous experiences
and fascinations: the interiorization of the landscape observed, the expressive color of Van Gogh, the
chromatic structure ofCezannes paintings, the decorativeness ofBonnards compositions, the biomorphic
sculpture of Moore. In the 1960s and 1970s Ruszkowski executed mostly plain air paintings in a desolated
old house/studio in Loch Marre. The proposed interpretative context for Aureolism is the work of Piotr
Potworowski and Marek Żuławski, rwo Polish emigre artists active and acclaimed in Great Britain.