Jarema Maria (ur. 1908 Stary Sambor, zm. 1958 Cracow).
Sculptress, painter, scenographer, member of the Krakow Group. She studied art at the age of. 1929-35 at the Academy of Fine Arts in Krakow in the studio of X. Dunikowski. While still a student, she joined the Krakow Group, gathering avant-garde artists with radical artistic and social views. She participated in the exhibitions of the Group and ZZPAP, initially presenting sculptures, and only from 1938 paintings. At the same time, she worked as a set designer and actress with the Cricot Theater, founded by her brother, Józef Jarema, and with Adam Polewka's puppet theater, which exhibited political nativity scenes in the working-class milieu. W 1937 she left for several months of studies in Paris. In the post-war period, she took an active part in the political and artistic life of the Krakow visual arts community. She has exhibited a lot in Poland and abroad (m.i. at the XXIX Venice Biennale), she participated in scenography and sculpting competitions, as before, she collaborated with the theater, This time “Cricot 2” Tadeusz Kantor. The fifties were also the apogee of the development of her painting work. At that time, cycles of monotypes arose Head, The words, Rhythms, Filters and Penetrations. The artist created her own, an original world of forms endowed with great expressive power, enhanced by the composition punishing them to merge into the mobile, variable systems. The multithreaded depth of these works, interpenetration of plans, the pulsing of passing rhythms was saturated with content, that they were far from merely a purely formal game, though so clear, precise, about the abstract elusiveness of the texture.
Sculptress, painter, scenographer, member of the Krakow Group. She studied art at the age of. 1929-35 at the Academy of Fine Arts in Krakow in the studio of X. Dunikowski. While still a student, she joined the Krakow Group, gathering avant-garde artists with radical artistic and social views. She participated in the exhibitions of the Group and ZZPAP, initially presenting sculptures, and only from 1938 paintings. At the same time, she worked as a set designer and actress with the Cricot Theater, founded by her brother, Józef Jarema, and with Adam Polewka's puppet theater, which exhibited political nativity scenes in the working-class milieu. W 1937 she left for several months of studies in Paris. In the post-war period, she took an active part in the political and artistic life of the Krakow visual arts community. She has exhibited a lot in Poland and abroad (m.i. at the XXIX Venice Biennale), she participated in scenography and sculpting competitions, as before, she collaborated with the theater, This time “Cricot 2” Tadeusz Kantor. The fifties were also the apogee of the development of her painting work. At that time, cycles of monotypes arose Head, The words, Rhythms, Filters and Penetrations. The artist created her own, an original world of forms endowed with great expressive power, enhanced by the composition punishing them to merge into the mobile, variable systems. The multithreaded depth of these works, interpenetration of plans, the pulsing of passing rhythms was saturated with content, that they were far from merely a purely formal game, though so clear, precise, about the abstract elusiveness of the texture.
Dressers, 1942
gouache, papier, 19 x 15,3 cm;
National Museum in Warsaw;
gouache, papier, 19 x 15,3 cm;
National Museum in Warsaw;
Copmosing, 1943
gouache, papier, 28 x 22 cm;
private property;
gouache, papier, 28 x 22 cm;
private property;
Tailstocks, ok. 1946
tempera, cardboard, 49,5 x 69 cm;
private property;
tempera, cardboard, 49,5 x 69 cm;
private property;
