Vladimír Boudník - Active and Structural Graphic Art

Vladimír Boudník (17 March 1924 in Prague - 5 December 1968 in Prague) was a graphic artist, photographer and a key figure in Czech post-war art, and a representative of the "explosionism" movement. He is best known for his active and structural graphic art, but also created mostly photographic and monotype works that, until recently, remained unknown.During World War II Boudník was sent to forced labor in Germany, an experience that resulted in a lifelong trauma. After the war, he attended art school, where he studied printmaking. He spent a brief period working in advertising before getting a job at an ironworks in Kladno, where he met Bohumil Hrabal. In 1952 Boudník, began working for ČKD Works in Prague. The factory environment served as an inspiration for his "active graphics" made of industrial material and waste. In 1968, Boudník committed suicide while experimenting with asphyxiation.Boudník worked mostly in graphics, and developed a number of innovative printmaking techniques. He was also one of the first Czech artist to begin working with the general public, organizing "happenings" and interacting with psychiatric patients.His work had a large influence on many contemporary Czech artists, especially author Bohumil Hrabal, with whom he shared many years of friendship. Boudník appears in several novels by Hrabal.
Since 1995, the city of Prague has annually awarded the Vladimír Boudník Award.Wikipedia

Dan Flavin - Installations from fluorescent light fixtures

Dan Flavin (April 1, 1933, Jamaica, New York – November 29, 1996, Riverhead, New York) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures.
"Dan Flavin, (born April 1, 1933, Jamaica, Queens, New York, U.S.—died November 29, 1996, Riverhead, New York), American artist whose installations featuring fluorescent lighting tubes in geometric arrays emit a rich ambient monochrome or multicoloured light that subtly reshapes the interior spaces in which they are displayed, creating intense visual sensations for the viewer. He was one of the leading exponents of Minimalist art and importantly influenced the direction of international contemporary art.From an early age Flavin was interested in art, particularly drawing. But, following his father’s wishes, he attended a seminary in Brooklyn from 1947 to 1952. He was never ordained, but he clearly maintained some interest in the spiritual, as his signature explorations of light (a phenomenon in art historically associated with the divine or the numinous) reveal. In 1952 he graduated from Cathedral College of the Immaculate Conception in Douglaston, New York, and he then served in the military in Korea for a year. When he returned to New York City, he studied art history at the New School and at Columbia University. As a studio artist, Flavin was generally self-taught.His earliest work of the late 1950s included paintings, text, and found objects. In the early ’60s he began to experiment with the use of fluorescent lights mounted on painted wood armatures. He became one of the first Minimalists, concerned with real space as a formal device, industrial materials, and simplified forms. Like the Russian Constructivist Vladimir Tatlin—whom he particularly admired and to whom he dedicated several of his works—Flavin often mounted his structures in corners so that the ambient light softened the rectangular space of the room. He used factory-made fluorescent lights in standard lengths and colours, thereby taking light as a found object. Flavin would use this basic format for the rest of his career, varying the number and scale of his pieces on the basis of space. From 1983 to 1988 he renovated a former firehouse and church in Bridgehampton, New York, as a permanent site for his work. The building, known as the Dan Flavin Art Institute, is now maintained by the Dia Art Foundation."(Lisa S. Wainwright britannica.com)


Milena Olesinska - Portraits

I create portraits from photos provided by clients. Portraits can be made in many different techniques- black and white pencil drawings, colourful pastels, oil paintings on canvas.
Price depends on technique used, size and number of people on the painting.

Jerzy Duda-Gracz

"Jerzy Duda-Gracz painter, illustrator, graphic artist and scenographer. Born on March 20th, 1941 in Częstochowa. Died on November 5th, 2004 in Łagów.He graduated from the Graphic Faculty at the Katowice-branch of the Academy of Fine Arts in Kraków.
Duda-Gracz's art contains elements of both grotesque and irony on one hand and of sentimentalism and nostalgia on the other. The latter derives from a world which, in the painter's own words, 'departs, dies, which has more in common with the world of dreams, childhood memories' – the 'post-industrial landscape world'. He is, however, known primarily for works with more bitter overtones which comment on the socio-political reality of the past decades, beginning with the communist-era Poland and ending with the beginnings of the transformation. Formally, his art did not evolve much throughout the decades. Duda-Gracz's paintings, thinly-layered but with visible brush strokes, became less colour driven but stuck to the same expression of realism and grotesque. On one hand, he tapped into – what was often noticed – Polish painting from the late 19th and early 20th century (especially Witold Wojtkiewicz) and Flemish 17th century realism, but also into contemporary and local styles – kapism and the art of Silesian outsiders from the Janowska Group." (culture.pl )


Franciszek Starowieyski

Franciszek Andrzej Bobola Biberstein-Starowieyski (July 8, 1930, in Bratkówka, Poland – February 23, 2009) was a Polish artist."Endowed with a baroque imagination, Starowieyski is highly adept at combining sensuous forms with intellectual messages, producing unexpected effects and shocking surrealist visions. His art is exquisitely ornamental and uses a plethora of unique metaphors and an individual system of signs originating from his beloved baroque esthetics. His paintings reveal a fascination with the sensuous, Rubensian female bodies and convey a reflection on passing and death. Saturated with grotesque and humour, his art combines the real world with creations of his rampant imagination and makes ostentatious references to the 17th century masters. Starowieyski, who is a master of drawing, says of himself,
    "Ever since I remember, drawing has been my language. It best expresses my thoughts".
The calligraphically precise lines of his drawings are impressive. He uses them to buil extraordinary, surrealist visions which combine dissimilar, unrelated motifs to achieve grotesque and metaphorical meanings. His predilection for calligraphy, penchant for fantasy, preference for the macabre and pursuit of the anatomy as well as his chiaroscuro, modeling and dynamic compositions are all rooted in the 17th century. His works often include German-like commentaries styled to look like the 17th century calligraphy, as well as titles executed in ornamental lettering. Since 1970 he has been back-dating his works by three hundred years, maintaining that this reflects the state of his soul and mind, a spirit of a 17th century ancestor having incarnated himself in him. He said in an interview that he has the impression of living "in those times, and the rest - things that took place later, up to what we take to be today - is just a matter of imagination".
He likes to shock with his art and his behaviour, Salvadore Dali undoubtedly being his role model. He once said, "The viewer expects the artist to scandalize, insult and shock him". His popularity started as early as the 1960s with a series of theatre and film posters. Indeed, owing to him the poster acquired the status of a stand-alone art." (Autor: Ewa Gorzałek, Centre for Contemporary Art at Ujazdowski Castle, May 2006; updated: February 2009 culture.pl )