Colour as a ready-made: notes on the margins of the works of Adam Marczyński

Elżbieta Błotnicka-Mazur

doi:10.21697/sc.2021.28.spec.13

Publicado:

Núm. 28 (2021)

Colour as a ready-made: notes on the margins of the works of Adam Marczyński

Elżbieta Błotnicka-Mazur

Saeculum Christianum

Sección: Rozprawy i Artykuły

https://doi.org/10.21697/sc.2021.28.spec.13

Resumen

The article deals with the issue of colour and its perception in selected works by Adam Marczyński (1908-1985), which are part of the Variable Reflections series from the 1960s and 1970s. The starting point for our considerations is colour treated as a ready-made, a colour swatch annexed to the painting arts by artists aware of the fact that colour can be a commercial product. The subject of the analysis are Marczyński’s works filled with square or rectangular coffers covered with movable flaps hinged on an axis. The artist covered the interior of the coffers with intense colour, usually achieved through the use of fluorescent paints. Their vivid colour was to be transmitted through reflections of light bouncing off of the silvery surface of flaps, and changing depending on the angle of inclination.

Descargar archivos

PDF (English)

Normas de citación

Błotnicka-Mazur, E. (2021). Colour as a ready-made: notes on the margins of the works of Adam Marczyński. Saeculum Christianum, (28), 176–186. https://doi.org/10.21697/sc.2021.28.spec.13

##plugins.themes.libcom.share##

Citas

Błotnicka-Mazur E., Na granicy optyczności i haptyczności widzenia. Dynamika w czasie i przestrzeni dzieł Adama Marczyńskiego, in: Sztuka pograniczy. Studia z historii sztuki, ed. L. Lameński, E. Błotnicka-Mazur, M. Pastwa, Lublin-Warszawa 2018, pp. 499-513.
Buchloh B., Painting as Diagram: Five Notes on Frank Stella’s Early Paintings, 1958-1959, “October,” 143/2013 (Winter), pp. 126-144.
Burrows L., Color that goes beyond nature. Research opens the door to predicting and designing structural colors, https://www.seas.harvard.edu/news/2021/03/color-goes-beyond-nature (accessed 15.04.2021).
Chrobak J., Kalendarium, in: Adam Marczyński 1908-1985. Wystawa monograficzna, [exhibition cat., March-April 1985, BWA Kraków, September-October 1985, Ośrodek Propagandy Kultury i Sztuki Łódź], ed. J. Chrobak, Kraków 1985, n.p.
Filipczyk J., Sztuka na peryferiach. Opolskie środowisko plastyczne 1945-1983, Opole 2015.
Hildebrand A. von, Problem formy w sztukach plastycznych, transl. T. Zatorski, introduction and editing W. Bałus, Warszawa 2012.
Jacek Maria Stokłosa. Galeria Krzysztofory, [exhibition cat.], photographs by J. M. Stokłosa, texts by A. Baranowa et al., ed. R. Domżalski, Kraków 2018.
Jankowska-Andrzejewska M., O „obrazach z materii” w polskiej sztuce II połowy lat 50. oraz lat 60. XX wieku, doctoral dissertation, thesis advisors: prof. P. Juszkiewicz, prof. M. Haake, Institute of Art History, Faculty of History, Adam Mickiewicz University, Poznań 2019.
Kowalska B., [n.t.], in: Adam Marczyński 1908-1985. Wystawa monograficzna, [exhibition cat., March-April 1985, BWA Kraków, September-October 1985, Ośrodek Propagandy Kultury i Sztuki Łódź], ed. J. Chrobak, Kraków 1985, n.p.
Krauss R. E., Grids, in: R. E. Krauss, The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, Massachusetts-London 1986, pp. 9-22 [Pol. ed. R. E. Krauss, Siatki, in: R. E. Krauss, Oryginalność awangardy i inne mity modernistyczne, transl. M. Szuba, Gdańsk 2011, pp. 17-30].
Kusz A., Uzupełnianie fluorescencyjnych, akrylowych warstw malarskich przeznaczonych do oglądu w świetle VIS w procesie konserwacji. Problematyka oraz badania komparatystyczne potencjału dostępnych na rynku materiałów [Eng. Replenishment of fluorescent acrylic paint layers to be viewed in the light of the VIS during the conservation process. Issues and comparative studies of the potential of materials available on the market], MA thesis (theoretical and research part), supervisor: prof. D. Markowski, Nicolaus Copernicus University, Toruń 2019.
Łukawski M., Między sztuką a projektowaniem graficznym. Wspomnienie o Bogusławie Balickim, “Powidoki,” 2/2019, pp. 209-214.
Questions to Stella and Judd. Interview by Bruce Glaser, ed. L. R. Lippard, “ARTnews,” 65/1966, No. 5 (September), pp. 55-61.
Rottmann A., Randomizing Paintings: Notes on Richter’s Abstractions, in: S. Wagstaff, B. Buchloh, Gerhard Richter. Painting after all, [exhibition cat., Metropolitan Museum of Art, 4.03.2020-5.07.2020], New York 2020, pp. 82-93.
Siegert B., Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real, transl. G. Winthrop-Young, New York 2015, “Meaning Systems.”
Swenson G. R., What is Pop Art? Answers from 8 Painters. Part I, “ARTnews,” 62/1963, No. 7 (November), pp. 24-27.
Temkin A., Color Chart: Reinventing Color, 1950 to Today, [exhibition cat., Museum of Modern Art, New York, March 2 – May 12, 2008], New York 2008.
Wiczyńska L., Technika i technologia współczesnych malarzy krakowskich, “Ochrona Zabytków,” 33/1980, No. 4 (131), pp. 311-318. Google Scholar

Elżbieta Błotnicka-Mazur

http://orcid.org/0000-0002-5653-9481

Afiliación:

John Paul II Catholic University of Lublin, Institute of Arts Studies Polonia

Resumen biográfico

Doctor of Philosophy, art historian, assistant professor at the Department of Arts Studies from Antiquity to the Present, Institute of Arts Studies (John Paul II Catholic University of Lublin). Her research interests include the art and architecture of the 20^th century, especially the sculpture in public space and the phenomena at the intersection of sculpture and other artistic disciplines in Polish art of the 1960s. She is currently working on a monograph devoted to selected problems in the work of Adam Marczyński (1908-1985) from the Kraków Group.