"Rajmund Ziemski (1930-2005) He debuted at The National Exhibition of Young Visual Art "Against War - Against Fascism" at the Warsaw Arsenal (1955). Later, during the "thaw" he joined an art group centred around Marian Bogusz and his "Krzywe Koło" Gallery. To boot, in 1959 Ziemski took part in the 3rd Modern Art Exhibition in Warsaw.
The artist's statement about this aspect of his work:
" During the period of the Arsenal exhibition, and also later in 1956-57 my paintings came closer to figurative art. I dwelt in the world of known realities, and these realities were enough for the content I wanted to show. But then it turned out that I needed to find forms somewhat resembling synthesis, forms which create not derivative-repetitive, but forms with evocative style fitting for the expected result."
Deserted compositions with recognisable architectural forms, which were gradually distorted according to the rhythm of imagination that could be found both in earlier and in subsequent works (Sun Over the City, Landscape in Purples and Greens - both 1957, Four Suns - 1958). The disc of the sun (Red Sun, Sun Falls - both from 1958) and birds circling around the earth (Birds series, 1957-58) were often seen in these "architectural" landscapes, where one could also find some elements of Klee's (thin wire lines), as well as Miró's (free-floating patches) lyrical poetics. The hardly legible, allusive shape was quickly replaced by a completely abstract visual sign (Signs series, 1959), and the author began naming his pictures according to the order of their making: 53/61, 77/61, 12/62, etc. At the same time, the notion of anxiety won out over the original lyricism of Ziemski's paintings. Furthermore, the painterly formula was transformed: the composition became less dense, angular, splayed pools of paint were guided, as Wojciechowski stressed, with a "wide, relaxed movement".
Varied elements became part of Ziemski's paintings at the end of the 1960s: strong broad lines, both vertical and horizontal, were contrasted with the familiar openwork, web-like relief structures. They were the harbingers of his path toward in-depth studies of Oriental calligraphy (Landscape 21/77, Landscape 44/77). In the beginning, Ziemski created these works using gouache. He then referred to them in his dramatic acrylic compositions made in the 1990s. They were different from the earlier works in their more expressive traces of violent strokes, as well as in their provocative extension of the palette of vivid, bright colours shaped in uniformly faded flat blotches (all works bear the same title: Landscape - Landscape 5/95, Landscape 4/96). Another characteristic feature of these paintings is a clash of the strong, monumental hieroglyphic sign with a delicate, quivering matter of pulsating specks of pigment..."/Text author: Małgorzata Kitowska-Łysiak, Institute of Art History, Catholic University of Lublin. Updated: August 2005.Translated by: Helena Chmielewska-Szlajfer, July 2010.(culture.pl)/
The artist's statement about this aspect of his work:
" During the period of the Arsenal exhibition, and also later in 1956-57 my paintings came closer to figurative art. I dwelt in the world of known realities, and these realities were enough for the content I wanted to show. But then it turned out that I needed to find forms somewhat resembling synthesis, forms which create not derivative-repetitive, but forms with evocative style fitting for the expected result."
Deserted compositions with recognisable architectural forms, which were gradually distorted according to the rhythm of imagination that could be found both in earlier and in subsequent works (Sun Over the City, Landscape in Purples and Greens - both 1957, Four Suns - 1958). The disc of the sun (Red Sun, Sun Falls - both from 1958) and birds circling around the earth (Birds series, 1957-58) were often seen in these "architectural" landscapes, where one could also find some elements of Klee's (thin wire lines), as well as Miró's (free-floating patches) lyrical poetics. The hardly legible, allusive shape was quickly replaced by a completely abstract visual sign (Signs series, 1959), and the author began naming his pictures according to the order of their making: 53/61, 77/61, 12/62, etc. At the same time, the notion of anxiety won out over the original lyricism of Ziemski's paintings. Furthermore, the painterly formula was transformed: the composition became less dense, angular, splayed pools of paint were guided, as Wojciechowski stressed, with a "wide, relaxed movement".
Varied elements became part of Ziemski's paintings at the end of the 1960s: strong broad lines, both vertical and horizontal, were contrasted with the familiar openwork, web-like relief structures. They were the harbingers of his path toward in-depth studies of Oriental calligraphy (Landscape 21/77, Landscape 44/77). In the beginning, Ziemski created these works using gouache. He then referred to them in his dramatic acrylic compositions made in the 1990s. They were different from the earlier works in their more expressive traces of violent strokes, as well as in their provocative extension of the palette of vivid, bright colours shaped in uniformly faded flat blotches (all works bear the same title: Landscape - Landscape 5/95, Landscape 4/96). Another characteristic feature of these paintings is a clash of the strong, monumental hieroglyphic sign with a delicate, quivering matter of pulsating specks of pigment..."/Text author: Małgorzata Kitowska-Łysiak, Institute of Art History, Catholic University of Lublin. Updated: August 2005.Translated by: Helena Chmielewska-Szlajfer, July 2010.(culture.pl)/
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