Edward Dwurnik

BORN 1943, Radzymin k/ Warszawy

Asked about his painting idols, Edward Dwurnik names: Nikifor, Matejko, Pollock. In 1965, as a student of the Warsaw Academy of Fine Arts, he began a series of drawings, watercolours, and oil paintings, entitled Hitchhiking Travels, which he continues to this day. He discussed social and political themes, in a manner streaked with humour and irony, in the series Workers, Sportsmen, From June to December. From the year 2000 to 2003, he created a series of abstract paintings, “pollocks,” as he calls them himself, that “match every sofa.” He graduated from Prof. Krystyna Łada-Studnicka’s studio at the Warsaw Academy of Fine Arts in 1970. He is a laureate of the Award of the Coutts & Co. International Private Banking Contemporary Art Foundation (1992).

Galicia
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Edward Dwurnik

Galicia

1998 / acrylic, canvas / 151 x 210 cm / no. 0020 Creative CommonsCreative CommonsCreative Commons Licence 3.0 1/ 4 Wróć
Description

Galicia is a painterly excursion to a nonexistent, mythological land.

“The familiar-sounding geographical names are nothing but empty hulls of letters, retaining but a fleeting aroma of memories of a world irretrievably lost; the architectural monuments, preserved here and there, are relics of a bygone community that cannot be resurrected anymore,” writes Martin Pollack in Galizien. Here, Dwurnik takes up similar issues of memory, illusion, and recollection, confronting sentiments and literary images of places from a gone era.

Maastricht. A perfect City
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Edward Dwurnik

Maastricht. A perfect City

1999 / acrylic, canvas / 200 x 210 cm / no. 0024 Creative CommonsCreative CommonsCreative Commons Licence 3.0 2/ 4 Wróć
Description

Dwurnik works by creating large series of paintings. Maastricht. A Perfect City is part of the series Blue Cities from the 1990s. Pedantic detail and meticulous reproduction of the city's topography expose the artist’s fondness of a “naive” style and his fascination with the work of Nikifor Krynicki. In Dwurnik's view, Maastricht is bathed in a hazy bluish aura, which creates a poetic, lightweight image of reality.

Red Tulips
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Edward Dwurnik

Red Tulips

1999 / oil, acrylic, canvas / 146 x 150 cm / no. 0025 Creative CommonsCreative CommonsCreative Commons Licence 3.0 3/ 4 Wróć
Description

Dwurnik’s paintings are marked by simplicity, brilliant technique, and self-reflection. The artist's unique stylisation dominates the represented world, making his paintings instantly recognisable. At the same time, his work is heavy on pastiche, grotesque, and distance towards the issues raised. Red Tulips have all the features of such painting: stylised representation, symbolism, and are perversely, almost self-mockingly, decorative.

Plac Trzech Krzyży (Three Crosses Square)
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Edward Dwurnik

Plac Trzech Krzyży (Three Crosses Square)

2002 / watercolour, paper / 45 x 55 cm / no. 0037 Creative CommonsCreative CommonsCreative Commons Licence 3.0 4/ 4 Wróć
Description

What Edward Dwurnik represents in his paintings are above all fragments of Polish reality. He is not afraid of confronting historical, national, and religious symbols with the banal and ordinary. The works are characterised by a quick, almost drawing-like form, simplicity, and a brilliant technique. The cityscape of the pulsating Polish capital includes the Holland Park building, the ING Bank Śląski former head office in Poland, where a large part of the Polish ING Art Foundation’s collection was displayed.

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