Zbylut Grywacz (1939 - 2004) "The Nude of a Sitting Woman," 1958 oil/canvas, 77 x 54.5 cm Signed and dated on the reverse: 'Zb 1958& ID: 162449 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 Zbylut Grzewacz 1939 - 2004, catalogue, ed. Joanna Boniecka, Jacek Waltoś, Kraków 2008, p. 336 (spis)), (il.) More information From the Renaissance anatomical studies to the impressionist play of light, the act held a special place in art and academic education for centuries. He was not only a study of the human body but also an excuse for aesthetic and symbolic searches. Through this prism, the formal searches can be seen as an act in relation to the work of Zylut Grzywacz: In the times of the Academy my main interests concerned form, not content. Before I became a painter of plot and meanings, I mainly drew acts and dead natures; typical academic iconography, no compositions of imagination. The most important was the workshop, searching for form, drawing methods (...) (Auto) portrait of the artist from his youth. Zbylut Grywacz talks to Joanna Boniecka, [in:] Zbylut Grzywacz 1939-2004, cat. ext., March-June 2009, National Museum in Cracow, ed. Joanna Boniecka and Jacek Waltoś, Kraków 2008, p. 20). The presented act is an example of the early work of Grywacz, which was created during his studies at the Academy of Fine Arts in Krakow. Azimut at this stage of Zbylut Grywacz's work marked experiments inspired by the experiences of the Cubans. Pablo Picasso and George Braque taught us how to construct a painting, and Poussin's paintings taught him how to build compositions. Acts of the Fryer represent and take various forms: photorealistic drawings with pencil, expressive works made ink, ephemeral pastels on packaging paper, as well as monumental oil painting compositions. The graphical language of art was treated as a way of communication between the author and the recipient, and also a way to ground the art in real experience. This kind of creative imperative was guided by members of the Krakow group Wprost (1966-1986), whose co-founder was Grzywacz. As Tadeusz Nyczek emphasized: Nyczek, Paradoxi group Wprost, .Working in 1979, nr. 3, p. 94).