Fine Art Painter.

A female form at a crucial moment in contemporary art

THE DARK MYSTERY OF UNDEFINED SENSATIONS

Małgorzata Brogowska's painting, or rather painting series, can be seen as a logical continuation of the formation of artists who cooperated, since the dawn of the twentieth century, in an organized manner and who expressed themselves in a homogeneous language . The painting cycles, starting with female nudity, are distinguished not only by their specific subject matter, but also by gradually showing an interesting development of an expressionist, autonomous painting, influenced by the Austrian art of Egon Schiele and serving as a vehicle for expression and individual development.

In order to understand the Polish artist in depth, one should embrace the atmosphere and realities of our times and appreciate her inner rebellion, between her talent and hermeticism, beyond the limitations of interpretation, starting with ideas truly anti-conformist in relation to all traditions of modern art and going beyond the boundaries of academic style. It is true that the choice between a panel and a board has value and seriousness equal to that of canvas, because the role of drawing cannot be reduced to a mere substrate prepared for painting a picture.

The central theme is a woman and her sexuality, but also a reflection of the female soul. It is the kind of art that illustrates the issues with restlessness that changes the aesthetic canons. Female nudity does not appear as a caricature of the historical expressionism of Alfred Kubin, Richard Gersti and Herbert Boecki, but is treated by the artist as a true, autonomous expression of her artistic style. Enriched with the soul, her brushstrokes of the pre-divisionist period convey the individual tension – the feeling that automatically envelops everything around her,  going beyond the canvas, as if entering the world of the observer, with whom the artist feels emotionally connected, pulsating with her inner light, leaving this world to look towards a common destiny of eternal cosmic becoming.

Not the nudity in itself, but nudity deliberately marked erotically and ennobled becomes an independent subject of her art. Apart from the magnetism of the theme itself, the eye of the observer is attracted by the inevitable interweaving of styles of Toulouse-Loutrec Klimt and Merici Carravagi [Merisi Caravaggi]  resulting from the isolation of iconographic subjects, but also owing to the cubist transformations of the image into plastic geometric abstractionism. Visible in the depths is an all-encompassing silence and the supernatural, intuitive onoreic perception capable of disseminating the feeling of secular meditation, which is already expressed in the colours and forms of her emerging sea of the deep subconscious.

ALFREDO PASOLINO

International critic and art historian