Edward Dwurnik (1943 - 2018) Untitled, 1968 oil/board, canvas mounted on board, 44 x 48 cm == sync, corrected by elderman == @elder_man ID: 161333 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. - To this lot we apply 'artist&s owe right' (&#xx27;droit de suite&#xi27;) fee. Royalties are calculated using a sliding scale of percentage of the hammer price. More information The presented object is a fragment of a large composition by Edward Dwurnik from 1968, which the artist consciously divided into parts, creating autonomous paintings. This gesture was not only practical but also symbolic: it allowed each fragment to exist independently, and at the same time emphasized that they all remain elements of a larger whole. Dwurnik gladly used such a procedure, his monumental depictions of cities and landscapes of society can be seen both in whole and in details functioning as separate stories. In this passage you can see clearly the inspiration of Nikifor's work, which the artist called his master. Simplicity of forms, intense colors and a direct way of showing the world refer to the tradition of primitiveism. Dwurnik, however, did not copy Nikifor's style, but transformed it into his own painting language, in which Grotesque mixed with realism, and everyday life takes on a symbolic dimension. Dividing a large format into smaller segments strengthens the impression of mosaics, each piece contains a separate scene, while at the same time remains part of the artist's extensive universe. This allows the viewer to interact with the fragment with nothing but a full picture, which tells a story on its own, and at the same time guesses the existence of the rest of the world outside the canvas frame. The year 1968 is a period in which Dwurnik still shaped his own style, but already clearly outlined the directions of his work. In the presented passage there is energy characteristic for his early works: intense timbre, dynamic composition, ironic view of reality. This work is not only part of a larger whole, but also a testimony of the birth of an individual language, which soon made Dwurnik one of the most important figures of Polish post-war art.