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Mariusz Kaldowski Velis Passis
These portraits were painted between 1993 and 1996. First exhibited in 1996 in Palace of Art in Krakow. The subjects sat for their portraits.
"Kaldowski is a painter of his times — age of an amazing history pace in which one cannot stop but has to go on..." Ryszard Kapuscinski

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Jan Budziaszek
 
Piotr Buchner
 
Kaja Danczowska
 
Krzesimir Debski
 
Leszek Dlugosz
Agnieszka Duczmal
Urszula Dudziak
 
Joachim Grubich
Ryszard Kapuscinski
Witold Lutoslawski
 
Ewa Letowska
Zbyslaw Maciejewski
Adam Makowicz
 
Mikolaj Melanowicz
Jerzy Nowosielski
Jerzy Owsiak
 
Krzysztof Penderecki
Jerzy Prokopiuk
Jerzy Radziwilowicz
 
Zbigniew Religa
Jacek Santorski

Piotr Skrzynecki
 
Franciszek Starowiejski
Jerzy Stuhr
Andrzej Szczypiorski
 
Olga Schwajgier
Jozef Tischner
Jerzy Turowicz
 
Lucyna Winnicka
Krzysztof Zanussi
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Ryszard Kapuscinski

Mariusz Kaldowski works concentrated. Concentration seems to assume slow activity, moments of hesitation, moments of reflection, necessary breaks, however Mariusz Kaldowski, when we watch him by his easel we are surprised by his fast, almost rapid strokes of the brush, resolute hand movements, certainty with which he uses his paints. There are painters whose vision of the painting appears during the work on it through many strenuous and arduous trials and searching’s. However it seems that Kaldowski creates this vision in his imagination on the canvas. This ability, ability of seeing an image before it appears as a material and artistic piece of art explains to us something so visible in his art which is the colourist unity of his paintings, perfectly grasped balance, harmony and concord of tints.
Easiness and bravery of handling the colour, its richness, its liveliness and a vibrating abundance create a feeling of freshness and charm of his painting. In this impulsive vividness of colours and contours there is no space left for the pedantic smoothing, for the excessive detailed cuts. Kaldowski is a painter of his times — age of an amazing history pace in which one cannot stop but has to go on, always create something new, and this overwhelming time and expectations pressure can also be noticed in his paintings, so charming with their verve, zest and energy.

However in spite of the fact that our age imposes on us such a hurry and almost legitimate negligence and nonchalance, the painter does not surrender and in every painting one can see the importance that he attaches to the form. In Kaldowski's paintings the form means — according to Cezanne's definition — colour. Moving, vibrating, restless colour — the qualities characteristic of intensive and ever-changing life.
There is one more feature of this painting, ever so important, of which the value is hard to estimate in the formal language of modern art critique — meaning its humanity. Kindness and friendliness he directs to the others, a wish to know and understand them. A desire to build his art from the light, the colours of which the tone and temperature support the life. But first of all the art of Mariusz Kaldowski reminds us that man, his face, his personality that is expressed on this face continues to be — in spite of the invasion of all kinds of the abstract forms — always present and immortal theme in the art.
This excellent and original painting is an outstanding manifestation of this truth and that is why it attracts so much interest, approval and liking. Ryszard Kapuscinski

 

Inka Dowlasz

The foundations of exhibition reach the depths of mental transformations of its creator — Mariusz decided to face his own limitations in an artistic and psychological way.
He decided to dare to ask for posing the people who had an impact on his spiritual life. He also decided to paint people who — through their life-attitude, brave and successful overcoming the limits of mediocrity — impress him.
Through meeting such individuality the chains of stereotypes of painting technique and portrait composition break. Here, this specific way of manifesting the personality dictates or even imposes the artistic solutions.
However, one should omit everything which is more or less consciously created manner of | dealing with the world and concentrate mainly on the mimic part of the face where the psyche manifests itself in the most direct way.
The paintings are 110 cm x 130 cm big and they show a maximum focus of the face alone which results in kind of a spiritual landscape of the painted person.
One can notice that as the number of portraits grow the collection starts to live own life and acts inspiringly in various directions. There is even an idea to combine this exhibition with a series of public meetings and discussions on the drama of human self-realisation. Inka Dowlasz

 

Olga Szwajgier

I am looking through the portraits — still unready... That man shrouded in grey mist with no lights, as if he was just about to leave...
And in this look-colour and face-tint lies a sore and aching heart; enchanted pain — did it have to be frozen inside?...
And here — perfect balance, peace, completeness, fullness, beauty...
Mariusz either sees the aura or he receives it intuitively...
In this face one can see the colour of ambition, speed, progress...
And here — bitterness, why? But it'll soon even — this light trail brings hope...
And that face beams with the energy so kind to the world and people... I am posing... Olga Szwajgier

 

Jerzy Prokopiuk

Light and colours of human faces.... (read more)>>

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