21 Bronislaw Kierzkowski (1924 - 1993) "Texture Composition 3/6", 1961 oil/canvas, 129 x 80 cm == sync, corrected by elderman == @elder_man == sync, corrected by elderman == @elder_man described on the stretcher:'"COMPOSITION 3/6" 32/W55' ID: 182042 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 William Linker Collection, New York (artist's gift) private collection, New York Sotheby's, New York, 2021 institutional collection, Poland DESA Unicum, 2023 private collection, Poland More information A PAINTER WITHOUT PURCHASE AND FARB Kierzkowski's career gained momentum after the thaw of 1956. That same year, he defended his diploma. Kierzkowski, himself working as an educator at artistic universities, began to treat the Unistic Concepts of Strzemiński more and more loosely, which shaped the first years of his creative path. Soon he debuted with a monographic exhibition in the Club of Polish Literature Association, in the same place he exhibited again in the autumn of 1958. A year later, his works could be seen at the 3rd Modern Art Exhibition in Warsaw and the 1st Young Biennale in Paris. The invoicing search for Kierzkowski takes place actually in parallel with the creative evolution of Stefan Gierowski, Jadwiga Maziarski, artists associated with the Lublin Castle Group and the Nowohucka Group. Kierzkowski was considered a forerunner by criticism, often seen as a biologic painter. The artist in 1958 eliminates the color from his work. He painted, crushing and crushing the white plaster mass. In his assemblages he used the plates, wires, nets, wheels, sprockets found on the garbage cans. About Kierzkowski's art from that time Bożena Kowalska wrote: "When in 1957 a wave of hot abstraction spread throughout our country, finding expression in Tascy technique, Kierzykowski had already developed his own code of plastic language. He made plasterboards with an irregularly shaped surface, in the first phase still combined with color, but since 1958 he considered the artist unnecessary. (...) These objects were of many importance. In the overall picture of the Polish situation at that time, they played the role of pioneering proposals, opposing to a certain extent the excessive vitality and expression of tashism. Lying in a special way to the world of modern machine civilization, they were one of the first manifestations of interest in this issue after the war, although reflected in a curved mirror. They were an expression of the creator's understanding of his role as a demiurga shaping objects in any way and not subject to any utilitarian purpose, just as nature gives forms to stones, the surface of mountain slopes or the smoldering wood trunks. (...) Despite the considerable diversity of individual works, however, the artist remained faithful to his original assumptions. It is not without meaning, however, if one realizes that almost all our creators, who in the late 1950s passed in their art a period of fascination with matter painting and informational structuralism, treated it in their works as just an incident passing or opening them further ways of searching. (Bożena Kowalska [in:] Bronisław Kierzkowski, exhibition catalogue at the Museum District of Toruń, 20.07-28.08.1994, p. nlb.). In another text Kowalska strongly emphasized Kierzkowski's distinctiveness against the background of the avant-garde at the time: "A different way [than Rajmund Ziemski] reached his version of the structure of Kierzykowski. He was not led in this direction by painting practices locked in a circle vaccinated by the Academy of Colorism, but undertaken parallel with painting experiments with collage. Even during the course of his studies, he mounted the piercings, thickly layered, initially typical, then more freely governed by his own laws of the plastic system, can be seen today as a preliminary stage preceding the plaster structures. Initially, in 1957, the artist tried to combine this new type of action in a flat-sculpted plaster with a habit or a longing for a brush and paint. A year later, however, he abandoned his experience with the color breaking the sense of the structure, building his paintings only from a stout, with dented stones, wires, metal grids and industrial templates. As he developed in the early 1960 ' s, he simplified his structures, giving them a calmer rhythmic system. Unlike most of the creators, Kierzkowski will consistently conduct this type of structural action, without giving it up and later, over the next many years (Bożena Kowalska, Poland avant-garde painting 1945-1970, Warsaw 1975, p. 82). For many years Kierzkowski also shared a coherent philosophy of the painting, which he thought should be more than a two-dimensional composition. In the 275th issue of the evening Express from 1958, one could find an article by Bronisław Kierzkowski, a painter without a brush and paint. The artist confessed: "My paintings may hang on the walls of the houses, " he was referring to the exterior walls and facades. During this time Kierzkowski planned to display his invoices in architectural space and create separate systems from them.