Tadeusz Dominik (1928 - 2014) "The Red Sea," 2008 oil/canvas, 100 x 100 cm Signed lower right: 'Dominik& Signed, dated and described on the reverse: 'DOMINIK 2008 P.L. 100 x 100 Red Seas ' ID: 162418 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. Condition report work not framed Literature Tadeusz Dominic. The window gives on the garden..., exhibition catalogue, Xavery Dunikowski Museum of Sculpture in Rabbithouse, Department of the National Museum, Warsaw 2008, cat. no. 229, pp. 182, 251 (ill.) Tadeusz Dominic. Painting, exhibition catalogue, Viridor of Gallery of Art, Lublin 2009, e.g. (ill.) Exhibited Tadeusz Dominik The window gives on the garden..., Xawery Dunikowski Museum of Sculpture in Rabbithouse, Department of the National Museum, Warsaw, 28.11.2008-18.01.2009 Tadeusz Dominic. Painting, Mirror of the Gallery of Art, Lublin, March-April 2009 More information The work of Tadeusz Dominik remains a special testimony to the search for harmony between the world of nature and the language of modern painting. Dominik, a student of Jan Cybis, developed his own artistic idiom, which eludes simple classifications. His paintings, although rooted in the tradition of post-impressionism and Polish colorism, carry an element of abstraction that opens the viewer to the experience of pure rhythm of colours and forms. In the center of his art stands nature, but never presented directly. The artist transformed landscapes, flowers or gardens into painting signs, bringing them to the essence: colorful stains, pulsating systems, repetitive structures. Dominik was able to combine the sensual richness of color with the monumental simplicity of composition. The intense red of the red sea is arranged in an organic, wavy order, bringing to mind the view, not in the sense of realistic representation, but as a symbolic element. The title sea is an unlimited, dynamic space in which the eye of the viewer immerses itself as in purely colorful matter. In the painting we find the essential features of Dominic's painting. It is above all the rhythmicity of the compositions that are always based on repetitive colour schemes that build an impression of movement and continuity. As the artist himself said: "If I could decide what to choose when I was a kid, I would rather deal with music. I had, as they say, absolute, excellent musical memory... But drawing from a child was probably stronger ([for:] Zbigniew Taranienko, a vision of nature. Dialogues with Tadeusz Dominik, Warsaw-Olszanica, 2016, p. 100). This is also the dominant role of color . for Dominic color was not only a means of describing, but also an autonomous value, which has its own dynamics and emotional power. Finally, the synthesis of nature: the artist never gave up appealing to the real world, but subjected him to his own system of expression, making his paintings on the border of landscape, abstraction and ornament. On the other hand, Rose shows a different dimension of Dominica's language, more intimate, focused on the gesture of a single theme. The rose is not presented as a botanical detail, but as a sign of the composition center around which the energy of color pulsates. Dominik is not interested in the description of the petals or the realistic form. The rose is an almost meditative image: quiet, focused on the symbolism of growth and duration. There is a particular motive: the roses appearing on Dominic's canvases were painted out of love. Presented canvases are not only a testimony of the artist's extraordinary sensitivity, but also his consistent creative attitude of combining nature and abstraction, emotions and forms, expression and harmony. The red sea reveals the power of the element of color, while the rose introduces the viewer into the space of reflection and silence. They show the characteristics of Dominic's painting language, an artist who could capture the elusive and elusive, and translate them into the universal language of painting.