Maria Carbonero Art

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

This lithograph was created by Mexican artist Jose Luis Cuevas. Known for his aggressive attitude and strong beliefs, Cuevas' work is characterized by...

Overall Size: Height 200cm x Width 300cm ( The painting consists of 2 parts, one part: 200x150cm ) Overall Size: Height 78,7402 Inch x Width 118,11 Inch ( The painting consists o...

This lithograph was created by Mexican artist Jose Luis Cuevas. Known for his aggressive attitude and strong beliefs, Cuevas' work is characterized by distorted human forms. Cuevas h...

An original enamel on metal painting by emerging contemporary conceptual artist Craig Sheperd (b. 1984) Craig Sheperd’s paintings, most of which are enamel on metal, were created o...

This piece is from my private collection of 20th Century -21st Century artists, many of which are from the School of Paris era. Pelayo produced this lithograph in colors. The Latin American spirit...

This lithograph was created by Mexican artist Jose Luis Cuevas. Known for his aggressive attitude and strong beliefs, Cuevas has said that his drawing represents the solitude and iso...

Artist: Bill Beckley, American (1946 - ) Title: Three Quarter Moon - Two Evening Stars Year: circa 1980 Medium: Lithograph, signed and numbered in pencil...

The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...

Summer Blue by Jasper Johns, American (1930) Date: 1985-1991 Lithograph, signed, numbered and dated in pencil Edition of 66/225 Image Size: 9.5 x 6.25 inches Size: 16.25 x 11.25 in. ...

Primal woman of the jungle with a headdress of vibrant tropical plants Flower Goddess - Figurative Paintings - Conceptual Art By Marc Zimmerman This masterpiece is exhibited in th...

"Dialogue," a thought-provoking creation by artist John Ali, beckons viewers into a realm of symbolism and introspection. The artwork features a young man with his head covered in ny...

"Random Thought," a captivating creation by artist John Ali, invites viewers into the enigmatic realm of introspection. The artwork features a young man, his head covered with nylon, adorned by an intricate African bead necklace...

Artist: Bill Beckley, American (1946 - ) Title: Falling Coconut - Setting Sun Year: circa 1979 Medium: Lithograph, signed and numbered in pencil Edition: 225 Image Size: 19 x 14 inc...

The Tender Weight of Waiting captures a moment of calm shaped by unseen expectations. Surrounded by books centered on love, marriage, and self-preparation, the subject retreats into ...