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Bold, controversial, energetic - both in his art and in the course
of his brilliant career - Edward Dwurnik is quite simply one of the
most important painters working in Poland today. His academic
training began in the late 1960s, a period of great turmoil for
the countries behind the Iron Curtain. The decades that followed
were equally momentous: food shortages, economic crises, the rise
and brutal suppression of the Solidarity movement, the imposition
of martial law, sudden independence from Soviet control, the
development of political and economic independence and, most
recently, acceptance into the European Community. Dwurnik's
paintings chronicle what it has meant to be Polish during this
period. He paints Polish society not from the idealized
perspective of the politicians and poets, but from that of the
common, everyday Pole. It seems fitting that, in spite of his fine
academic training (or perhaps because of it), Dwurnik chose as his
painterly language the primitive manner of the illiterate and
self-trained Polish folk artist "Nikifor," whose street works sold
for bread and shelter recorded the Poland of the generation
before. His is the language of the working class; of comic book
heroes and trash novels. It would be odd, after all, to record the
"real" world in grandiose style. Admirers praise Dwurnik for his
keen sense of observation and for his nearly journalistic style of
painting. Critics condemn him, in part, for his abandonment of
academic rigor. It is not Dwurnik's role to show us pretty things
in the style of the romantics. Instead, he shows us the world as
he sees it. He sees it better than most; he feels its essence.
Dwurnik often takes liberties with physical "reality" to convey
something much more real. The intangible transcends the tangible,
and therein lies the power of Dwurnik's reporting. To understand
what it is to be Polish, one must strive to understand Dwurnik - and
vice versa. The Nevin Kelly Gallery is pleased to welcome this
true Polish master to Washington.
Edward Dwurnik graduated from the
Academy of Fine Arts in Warsaw in 1970. His works hang in the
Presidential Palace in Warsaw, the Polish National Museum and
other European museums. He is the winner of the 1992 Coutts
Contemporary Art Foundation Prize for painting and a 1983
Solidarity Cultural Award.
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| Shalom Galicja (2002) |
60 x 83 in.
oil on canvas |
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| Warsaw, Castle
Square (2002) |
SOLD |
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| Gdansk (2002) |
SOLD |
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| Białogard (1996) |
60 x 60 in.
oil on canvas |
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| Tarnow (2003) |
46 x 58 in.
oil on canvas
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| Siekierkowski Bridge (2002) |
18 x 22 in.
watercolor on paper |
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| Shalom Tykocin -
Shalom Wlodowa
(2000) |
SOLD |
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