Cheslaw Pius Ciapalo (b. 1942) "Opus G -76/78 No. 32" from the series "Symphony No. 3 - Green", 1978 oil/canvas, 115 x 95 cm == sync, corrected by elderman == @elder_man Signed, dated and described on the reverse: 'CZYSŁAW PIUS CIAŁO (in Polish) with non-commercial symphony No 3 "OPUS G - 76/78 No 32" OLOJ 115 X 100 cm YEAR 1976/78& ID: 144846 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. Condition report Near upper right edge are light scratches on the paint Layer Literature Pius Ciepło, Painting, Poznań-Warsaw 2021, p. 18 (ill.) More information In the presented works there is a problem of colour play, dependencies and harmony of colors forming the artistic structure as timeless, but also the problem of dynamics of color relations, and as a consequence of time as a condition of the law of transformation. Color relations create a space that is thus linked to time. Mirosław Prosna Czesław Pius Ciapało is one of the most charismatic artists of his generation who debuted at the turn of the 1960s and 1970s. His work focuses on sensual, sometimes erotic images of body parts that dominate the canvas and limit the role of the background. His approach clearly contrasted with the current censorship in the People's Poland, which often resulted in the rejection or removal of his works from exhibitions. His stay in Great Britain, where he became acquainted with the New Figurine, had a significant impact on his art. The plastic language created by the Ciapało played in conjunction with the moral revolution of the late 1960s, whose roots lie in the social movement of hippies. This movement, reaching its apogee in the '60s. In the 20th century, he proclaimed ideas of liberation from commercialized civilization and promoted closeness to nature. The purpose of the art of counterculture of that time was to help overcome the contamination of civilization and liberate man from the oppression of a prude culture, which was to happen through the liberation of biological energy, making man happy as part of the Universe. The Auctioned work "Opus G " 76/78 No. 32 " was created in reference to a group of images called "Non-commercial Symphony No. 3 "Green," a monumental piece consisting of 10 green paintings painted in 1976-1978. "Opos G "76/78 " No.32 " is an excellent example of the work of the Body, which in the lens brings together all the characteristics characteristic of this period. stylistic and formal. Attention is drawn to the unique colors of the work, maintained in a toned, lightened, green tone. The period of works of the Body between 1974 and 1988 is defined by large-format compositions, which the artist called symphonies, structural works through which he studied the relationship between the language of music and art. During that time, there were 48 elements and a symphony measuring nearly 120 square meters of the year, a concert on the left hand, a Space Oratorium, a study of colour structure and a system of sounds, an extensive series of triangular images named by the artist Concerting, crystal symphony or previously mentioned non-commercial symfony No 3 - Green. The works from this period were presented at an impressive exhibition of the 1974-1982 visual symphony in Zachęta, Warsaw in 1982. As Brent Collins wrote: "It is also necessary to mention the visual symphonies of Czesław, the great, painted bands covering the entire walls of museum halls, in which the scale of man becomes merely a midget. Some bands are integrated with a smooth rhythm of abstract forms, other progression of color tones. They're all overpowering with the same unchanging iconographic form. In turn each individual wins at the instrumentarium of the mind a distinctive mood in contemplation of this form. The transitions from one to another are like the sudden gentle breeze of freedom. In a symphonic form everything in these images gains a new kind of momentum and becomes true what can only be described as cosmic brightness. The body remained a separate artist whose work does not find any analogy at that time and thus cannot be clearly classified and put into a rigid frame. In his artistic journey through various methods, the Body constantly sought its own unique language. Explored various techniques and styles, ranging from drifting inspired by Jackson Pollock, through poitylism, to fascination with the architecture of the American metropolis, which aroused in him a scientific internship at the Eastern Illinois University in Charleston. The harmony of colors and the clear plane of the image remained unchanged in his work. Despite the passage of years and growing interest among collectors, it remains just as intriguing as undiscovered, especially from the content contained in it.