5 Jan Tarasin (1926 - 2009) "Objects," 1968 oil/canvas, 73 x 100 cm Signed and dated lower right: 'J. Tarasin 68' == sync, corrected by elderman == @elder_man ID: 166010 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. Provenance private collection, Sweden Uppsala Auctionskammare, 2020 private collection, Warsaw DESA Unicum, 2023 private collection, Poland Opinions authenticity confirmed by the artist's heir Exhibited Jan Tarasin, solo exhibition, Konstsalongen Kavaletten, Uppsala, 1968 More information In 1967, a year before the creation of the present catalog, the Silesian Museum in Wroclaw organized the VIIIth Exhibition of the Krakow Group. It is not difficult for the Kraków exhibition to erect a hierarchical pyramid. At its summit we would have placed the names of Brzozowski, Kantor and Tarasina (Paweł Banas, Odra 1967, nr 10, [for:] Joanna Egit-Pżyńska, Jan Tarasin. Painting, drawing. 12.11 and 3.12.1968, published as part of the research project "History of Exhibitions in Zachęta" (Central Bureau of Artistic Exhibitions in 1949 and 1970), source: http://zacheta.art.pl). Jan Tarasin was one of the youngest interns of this association, a graduate of the Krakow Academy of Fine Arts. He debuted at the 1st Exhibition of Modern Art in Krakow. Shortly after receiving his diploma in 1951, he gained the opinion of a capable graphic artist, the best one, as proclaimed by the artist among the young generation, and (...) one of the strongest creative individualities among young people, Ewa Garztecka, the People's Tribune 1958 or 1959, No 214, [for:] Joanna Egit-Pużyńska, ct.). In 1968 there was a solo exhibition in Zachęta, then moved to the Krzysztofory Gallery in Krakow. That's when he developed his unique style. Jan Tarasin as an artist fully expressed himself in the 1970s. Then the objects willingly painted by him in the dead natures eventually began to take unrealized forms, becoming drifting in space, unobvious shapes. Painting busy, endless systems with variable rhythms and saturation, arranged in monotonous series, sometimes disappearing or thickening to the limits of losing your rhythm, decay or disappearance was a way for the artist to capture reality in a burning act. As Tarasin himself wrote in 1999: "Painting is like a notebook for me. (...) Forms resemble undefined embryos, but I do not want to complicate them too much (...). I want to stop them at a point where anything can happen when everything is still ahead of us. A key influence on Tarasina's style change was the scholarship trip to China and Vietnam, which he made in 1962. The artist became familiar with a different Asian culture, which changed his perception of space in the painting. As a result, Tarasin's work permanently entertained the theme of a symbolic line that divides the sphere of the image and gives meaning to the individual elements according to their relationship. The more free, to abstract the list of subjects have something in them from the eastern, meditative aesthetics and attention devoted to the smallest details, individual objects. This system of organizing space is cognitive. Non-necessary objects mean material objects, but signs, which allow you to read Tarasin's paintings as a kind of logical sequence. Despite, as it might seem, certain truths governing the composition, individual signs are often, as the artist pointed out, random. Unpredictability is therefore seen as a necessary element of the harmony of the world, harmony, which the artist is not trying to control. In a special way, Alexander Wojciechowski wrote about the work of Jan Tarasin on the occasion of the artist's exhibition in 1968: He's got his artistic credo in him. Since then, he has consistently implemented the program there. All theoretical considerations of the artist concerning the overall situation in contemporary art, a durable test of time with the exception of one sentence: The subjects demoted by imperfections of their functions, deprived of all the splendor enjoyed by generations, will be largely overcome from the field of view. He didn't care about the possibility of a reverse process: re-control of art by objects. He could not predict the birth of the op-art, a direction that not only inhibited the process of degradation of the object, but even contributed to its apotheosis. But it is precisely because pop-art has increased the pressure of the subject on man that by rediscovering the secession objects travel victoriously from the attic to the museums and residential interiors, because they are once again heroized by painting and graphics, it is necessary to paint Tarasin. His present subjects are exactly what he once dreamed of: "They bear witness to the new fact that came about through the artist. They provide selfless emotions, stimulate imagination (Alexander Wojciechowski, Jan Tarasin. Painting, drawing, Association of Polish Artists, Central Bureau of Artistic Exhibitions, Warsaw November 1968, p. nlb.).