Piasecki marek 1935 2011 (1 risultati)
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Da: Penka Rare Books and Archives, ILAB, Berlin, GermaniaPenka Rare Books and Archives, ILAB
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EUR 15.000,00
EUR 35,00 spedizioneSpedito da Germania a U.S.A.Quantità: 1 disponibili
Aggiungi al carrello1. Ink drawing and collage on paper measuring 10.5 × 14.7 cm. Stamp to verso with author copyright. 2. Ink drawing and collage on paper measuring 9.9 × 6.9 cm. Stamp to verso with author copyright. 3. Ink drawing and collage on paper measuring 10.2 × 6.3 cm. Stamp to verso with author copyright. 4. Ink drawing and collage on pap…er measuring 13.5 × 6.7 cm. Stamp to verso with author copyright. 5. Ink drawing and collage on paper measuring 9.8 × 7 cm. Stamp to verso with author copyright. 6. Ink drawing and collage on paper measuring 10 × 6.3 cm. Stamp to verso with author copyright. 7. Ink drawing on paper measuring 9.8 × 7 cm. Stamp to verso with author copyright. 8. Ink drawing and collage on paper measuring 9.8 × 7 cm. Stamp to verso with author copyright. 9. Ink drawing on paper measuring 13.4 × 6.8 cm. Stamp to verso with author copyright. 10. Gelatin silver print (heliograph) ca. 1957 measuring 9.5 × 6.5 cm. Stamp to verso with author copyright. 11. Gelatin silver print (heliograph) ca. 1957 measuring 12 × 9.2 cm. 12. Gelatin silver print (heliograph) ca. 1957 measuring 12 × 9 cm. 13. Gelatin silver print (Photomontage with doll face) measuring 7 × 4 cm. Signed by author to back in pencil. 14. Vintage gelatin silver print on photographic paper (doll face) measuring 9.5 × 6.5 cm. 15. Gelatin silver print (doll face) measuring 10.5 × 12 cm. 16. Gelatin silver print (hand with key) measuring 10.5 × 15.7 cm. 17. Gelatin silver print (girl face with doll face) measuring 12 × 5.5 cm. 18. Gelatin silver print (woods) measuring 9 × 13.5 cm. 19. Gelatin silver print (face) measuring 6.5 × 10.7 cm. The Miniatures of Marek Piasecki 1959-1967 Born in Warsaw in 1935, Marek Piasecki, whose work stretches across the Surrealist and Dada traditions, and post-War Réalisme Noir, is part of a generation of Polish artists whose childhood was defined by WWII. Just shy of four years old at the time of German invasion of Poland, the miniature photograms made by the artist in the 1950s using spilled liquids recall burn marks, things oozing, smudged, stained, and destroyed. Piasecki' family home was bombed during the Warsaw Uprising in 1944 when he was just nine, with both his parents arrested for their involvement in the uprising. The piles of doll parts and rubble which the artist arranged into installation objects, as well as his doll portraits of the late 1950s-1960s, reference both the Surrealist and Dada tradition of artists such as Hans Bellmer and Man Ray, as well as the direct child-eye experience of war such as that portrayed in Andrei Tarkovsky's "Ivan's Childhood" (1962). In the 1961 review "Marek Plays with Dolls", the curator and art critic Janusz Bogucki wrote of Piasecki's doll compositions "[.] dressing them up, posing them, arranging them, illuminating them, thus depriving them of their infantile carelessness, he encumbers them with the weight of the moral and mental experiences of the last quarter of the century." On the recommendation of the Polish avant-garde master Henryk Sta?ewski, Piasecki took part in the seminal Polish Thaw-era exhibition, The Second Exhibition of Modern Art (1957), and joined the Second Krakow Group in the same year, alongside avant-garde artists such as Erna Rosenstein, Tadeusz Kantor, and Maria Jerema. His first solo exhibition was held at the Krzysztofory Gallery in 1959, with numerous personal and group shows to follow. In 1967 Piasecki was invited to take part in an exhibition in Sweden, where he decided to remain, living there until his death in 2011. His works are held by the Museum of Modern Art in New York, the National Museum of Art in Warsaw, and Moderna Museet Stockholm, among others. The present collection of 19 works of Marek Piasecki from 1959 to 1967 includes his miniature "heliographs", vintage photographic prints including doll compositions, portraits, mystical landscapes, and miniature mixed media graphic works and collages. Conditioned in part by the scarcity of materials of post-war Poland, the miniatures required few materials, while eliciting an intimacy produced through close looking, which generated the greatest interest from his contemporaries. The scale of the works is also in stark contrast to the monumentalism of Socialist-Realist war memorials, as well as the enormous scale of canvases by post-war artists such as Anselm Kiefer whose canvases also refer to war-time destruction. Piasecki's experiments with photography started in the late 1940s, during an apprenticeship at a photography studio in Krakow, where the family moved after the Warsaw uprising. In 1954, he built a darkroom in his own apartment. In 1955, he produced his first photograms (cameraless photographs which he called heliographs) by spilling liquid directly on photosensitive paper and exposing it to light. In an interview Piasecki explained: "What I do is painting of a kind, with the exception that it relies on photosensitive material. I take advantage of its properties, because I know quite well what they are capable of producing; still I also employ gouache, oil, nitro or collage technique." This identification of photography with painting echoes discussions of the work of Piasecki's contemporaries Robert Rauschenberg and Susan Weil, who were also making cameraless photographic prints that resembled painting in the 1950s: "the blueprints were a way of making cameraless photographs that could compete with the scale of contemporary painting.yet still keep the cost of materials viable for two young artists living on a shoestring" (See: Michael Lobel, "Lost and Found: Susan Weil and Robert Rauschenberg's Blueprints", in Artforum 54, no. 6, p. 187). In the same period, Piasecki photographed city scenes, capturing daily life in post-war Poland. His photo-reportage pieces appeared in a variety of Polish publications such as ?wiat M?odych, Stolica, Poezja, Wi??, allowing the artist to earn a living while producing work he did not consider part of his artistic output. Still, som.
