„Childhood Gardens”, Florianska 22 Gallery, Cracow, 2016
„My landscape”, BWA in Rzeszow, Rzeszow, 2016
Jacek Kawałek, Rzeszow, 2016
„The Gardens of Love”, Galeria pod Rejentem, Cracow, 2014
GARDENS OF LOVE
The art of love is like the art of painting: it requires technique, patience, and most of all experimenting together. It requires courage, you need to move further, beyond that which we used to call „making love.”
In June the garden of Louise is most beautifully blooming
While its non-existence kills like an axe
Hanging from a rainbow under warranty of vision
It glows up into dazzling illumination of purple domes
In June the garden of Louise is most beautifully blooming
The Gardens of Love by Magdalena Nałęcz bring the smell of poetry and the sound of silence as delicate as the hot sun in Tuscany. The light whirling in brocade, falling down onto the eyelashes of an invisible spectator who hold his breath in rapture. Soaring cypress trees feed on the blood of sunsets, on the silver of the moon and blue dawns. In this silence there can be heard the whispers of invisible lovers. Where are they? Perhaps behind an azure curtain, drinking ruby juice of ripe pomegranates and laughing at us who watch them from the other side of canvas stretchers.
Watch out: here comes the invasion of Peacocks! The birds pass through picture frames, with the fans of their tails hardly fitting in there. Eyes of their tails are whirling like soap bubbles and they see everything penetratingly. They are like Indian princes adorned with jewels and diadems. Full of vanity and beautiful as gods. Trimmed with emeralds, sapphires and gold. Rainbow-coloured birds which were said to be phoenixes. They are not afraid of death or poisonous snakes. The poison does not kill a bird; it only makes the colour of its feathers more vivid. There are winding and inaccessible meanders that lead to the gardens of love. Both the Minotaur and cunning Ariadne know that. Whoever has enough courage to go deep into himself, will find himself. In the labyrinth, which is commonly called life.
Pałac Sztuki TPSP, Cracow, 2012
The canvas frame does not limit any of my stories in any of its aspects. Can each story be told? I don't think so. Although poets composing words tell what I cannot express in words. am on my way. I keep searching. I keep travelling. I cross countries full of beauty and deformity. I encounter amazing colours, gorgeous landscapes and disappointments of indifferent places, unwanted emotions, the mystery of museums where great masters are present as well as my family albums filled with memories, though not always easy, but also filled with lots of longing and joy. Outside the frame of the painting I look for my story. The frame, although restricting from its definition allows me to "close" my story and level my breath. That is why I paint.
White canvass is a mystery. I fill it in with the shape and colour creating a new unknown of my experiences and impressions.
Of delight, fascination, joy, happiness, fear, anxiety, longing, grief, passion, sadness, emptiness, loneliness. Each of us experiences these feelings. Those emotions closed within the canvas frame may be a mirror for each viewer whom I may help to look inside themselves. It is my earnest wish.
It is hard to speak about masters. It is hard not to speak about them as well. Professor Jan Szancenbach is my master. It is owing to His heroes - everyday objects, flowers, fruit straight from the garden and landscapes - I understood my way of non-verbal communication. Professor Sławomir Karpowicz showed me what time and its passing in art mean. It is hard not to mention other inspirations: Zurbaran, Ribera, El Greco, Coorte, Chardin, Delvaux, Chirico, Picasso, Braque. Viewing the masters’ paintings "charges my batteries". The artistic expeditions of Prof. Brincken from the Cracow Academy of Fine Arts, that is the “journeys to the sources” I had the honour to take part in are also my journeys to MY OWN sources.
And a great inspiration.
My search defines the ways of expression I choose. It is not easy to precisely reflect a fragrance, colour, delight, fatigue or heart vibrations. Is it ever possible to paint the beauty of the Lithuanian sky or the delight over a beautiful object in the same way?
Let them be different then, let each viewer find in my painting their own key to understanding their emotions.
You cannot see a human being in my paintings. Seemingly. I paint a landscape, interiors, objects, accessories which accompany us in everyday life and through them I try to tell about all of us. Sometimes the objects surrounding us speak more about ourselves than the painted image.
In "Gardens" I try to put together my travel into a poem - even though without words. This is a poem about me, my nearest and dearest, those alive and the ones who have passed away. It is also about many stages of my search, which are also the search of each of us, although designated by different places and different people. Because each of us has their own "Childhood Garden:, "Garden of Love", "Farewell Garden"... And I hope that by visiting my gardens you will find your own paths.
"Dream Factory" Elektor Gallery, Warsaw, 2011
The carnival period will soon begin. Dreams of costume balls, fancy balls, historical epoch balls come true in theatrical rentals of costumes and prop rooms. I like those places even if I cannot find my dream creation. These are the only places where I don't mind the smell of naphthalene, in which Zosia who has been working in the theatre for 40 years does not hurry, drinking tea from a glass, remembers old actors, their costumes, canes, hats, gloves and the richness of their roles. On the walls you can see old photos of the actors, some of them signed... The time seems to have stopped in those props, objects with soul and history. What a pity to leave this place. As each of us misses the magic of the theatre curtain, the charm of the cinema, the curiosity of the lobby and at least a short glimpse at our dear actor.
And suddenly the smell of props room comes back to me. The shape of dummies, abandoned hats, instruments put aside a moment ago, even my beloved stars are looking at me from the old photos. No, I have not come back to the rental.
I am in Magda's repository of memories.
We travel with Magda as in the old films, we can almost feel the smell of Humphrey Bogart's cigarette smoke and whiff of Audrey Hepburn's perfume. Old film tapes seduce us with their mystery and provoke to remember the film titles. Hardly open, or maybe rather not fully closed drawers are a mystery, the scales may weigh the past and present, the instruments evoke the tune memories. The magical world of film. Magda's magical world painted from memories and dreams. A beautiful travel.
Also inside our heart.
"From the cat's point of view", Raven Gallery, Cracow, 2010
landscapes from the inside
...I have the impression that against the apparent peace and quiet something is always happening here.
The landscape in the farthest background of the painting is the most significant. It is painted sharply, as its motif has its solid, geometry and almost always a clear light. The brick buildings sometimes plastered with colour, all in all shining new roof tiles, the rhythms of windows and embrasures, a clear chromatic exclamation of the oxidised copper sheeting and sometimes the glare of the edge of the blue reflecting its richness in the window pane panel.
The sky. Apart from one dangerous state of affairs, and maybe it's already after the storm? It is gentle also to the season. Recognizable historical shapes of the walls, bastilles, domes and bell towers. From afar? The sharpness of the painting form is definite here, as if the air space of the landscape was beyond the artist's intention. The city where she lives, Wawel which she can always see, the roofs which are in Her perspective and painting experience. Magda Nałęcz paints these landscapes through and from beyond. Her paintings are like clearly intended staging, as the theatre before it, or Her theatre. The curtain in the paintings are the windows, and to be more specific, the excellent geometry of the window frame. It is only her space untainted by the error of perspective that opens something, allows some imagined, reflected, expected? Light enter from the landscape onto the foreground of the painting's proscenium. And here it is, Her, the painter's world, everyday life. The window sill - a shelf, a cupboard, a few paintbrushes and paints. Sometimes two cats, in the pose of sanctity. Puckish against the form of the painting because they are different in their nature from anything, different from ourselves, audaciously free and lazy. New paintings of Magda Nałęcz place the viewer in a definite situation: here it is, look. Look at what I can see, although I look from the inside, from my inside. Is it only from the room? from the looks collected in the photographic notes?.. But there are also different canvases, intimate records of single or double presence of objects. A bottle, jar, tin or pot. They may be the new, other actors whom Magda Nałęcz has called to the stage of her canvases. If they prove to be important, she will certainly assign them a role, she will find something important for herself to let them play. They may stand on the window sill, wander against the cats' will beyond the edges, realities and recognizable spaces. But something different may happen as well... as it happens in the artist's tormenting reality.
Adam Brincken, autumn of 2010
„Travelling impressions”, Galeria Nautilus, Cracow, 2007
What an impressing number of solo exhibitions for such a young artist! And even more participations! Extraordinary diligence, indeed. Quite admirable these days, when most artists say to themselves what Pooh sighed to Piglet on a field under a lime tree: „If only we could feel like doing something as much as we feel like doing nothing”. Collages, landscapes, seafood and monotypes. (In a way this division makes one think of the Chinese classification of animals into, if I recall correctly, ‘lions, birds and emperor-owned animals.’) Two of these descriptors refer to Ms Nałęcz’s technique, the other two to her subjects. Landscape or seafood may be either in collage or monotype. End of criticism, what follows is pure praise. Firstly, Ms Nałęcz’s works are well made: not many artists bother this much about workmanship today. Secondly, she creates images. Thirdly, these are poetic images. Fourthly, she is preoccupied with the Mediterranean, Mare internum, yet not as seen from a window of a luxury hotel in Coillure: Ms Nałęcz looks at the sea from a fisherman’s boat, glancing at the beach and the coat, painting harbours, boats, shells and crabs. Sometimes she ventures into the land to paint a landscape in Greece, France or Croatia.
A gentle Zephyrus, one of the four wind gods, is blowing. Poseidon (not Neptune, we are in Great Hellas) looks kindly at Aphrodite painting with her long her dipped in the couloirs of sea foam. What bewitched me in Magdalena Nałęcz’s paintings is that there is absolutely nothing brutal, boorish, crude or stupid in them; instead there is a subtle, warm look at the man who, although invisible, is present in all these pictures. I was moved by a procession of nymphs. They danced off: the Dyads and Pan; the Naiads, Oceanids, Nereids, Oreads, Hamadryads, Leimoniads and Hesperides. The Gods of Olympus look down sipping their nectar and easting ambrosia, while the Muses applaud from Parnassus conferring a wreath of laurels upon Ms Nałęcz.
„Travelling impressions”, Galeria Nautilus, Cracow, 2007
Everyone have their won, different reality,
And the world is refracted differently through each of them.
The painter decomposes midday light: it goes through the prism of her paintings and begins to play pranks. On the surface all things are where they belong: boats having a siesta in a Croatian harbour; an guard of honour of cypress trees keeping vigil over a Tuscany landscape; the town of San Gimignano as medieval Manhattan; or mandalas of seafood in seafront taverns. But this Mediterranean world according to Magdalena Nałęcz also has its other face, animated by a scorching mystery that defies the viewer. Like mirages, paintings draw you inside, the cycles lead you along paths limited by neither space nor time. These gentle images are traps for tourists who crave for holiday sensations. Just focus your eyes and get lost in a maze of the palace floor, surrender to the independence of corners, lose your way amongst roads to the sea, know the power of unsurpassable walls and the helplessness of doors to the void. Dazzled by the noon sun, the traveller viewer follows the artist to reach the core: a lavish dinner of fiery prawns that cast a come-hither look as if trying to say Do not rust your eyes. There is nothing more misleading than senses.
"The Last Film Show..." Gil Gallery, Cracow, 2003
You have been here, painting.
- Now you have named the painting, maybe the series, maybe this exhibition "The Last Film Show..."
- In the inside of your canvases you have hung posters or photos-scenes-frames magnified to the real life scale.
- You have given them an honourable place, distinguished them by a slightly different painting style, as if warm in the touch of the paintbrush.
What is still in the canvases does not obscure them, it is next to them.
It is a meeting! Is this the last one?
There will come a time when looking at the life ups and downs of funny people we will stop rolling on the carpet laughing a whole lot.
Is it because instead of feeling the joy inside, we become less funny ourselves?
When? is the power of determination to chase along the roofs to the rescue a toddler over? Can we love as in "Casablanca", to the last sip, to the last drop, against all odds, on the celluloid tape?
is it possible in life? once? or always?!
These dilemmas seem to accompany your painting.
After all, if they are truly ours, they are present! in the paintings.
Maybe, the paintings, themselves without the dilemmas might be different, or maybe they would not exist at all?
We don't know since we don't have to know each reason for our painting. Let others define the causes and reasons.
However, I think your world will always, and not for "The Last..." time wear a bowler on top, it will get nervous and cry, will whirl around and fling stones against the shop windows and sit for a long time gazing into the glass.
You clasped those poster-photos inside your paintings. And they, whether you want it or not, played in those films, your paintings, with metaphors.
- Grouping of tall and thin rectangles with the cry of light on the triangle pieces of mirrors,
on the table top became the Manhattan drama, and the dark blue glow around the chair with an abandoned piece of cloth on its back - a trace of someone's physical absence,
- empty wardrobe, hardly marked with a line, piled blocks and rectangles at the bottom, a hung biology of pipes and trumpets at the top, half of a dummy and an open violin case in the centre…
- a film male character over a bottle sunk in brown patina, but outside the window and under the table a different world.
You have painted those meetings.
But is it "The last film show...? is it a farewell? is it a moment of reflection?... or maybe "the life has outstripped the cabaret"?
p.s. a month ago during a lecture at our Academy Bogusław Schaeffer said... "the structure of a work of art is always complex, only the poster is one-sided..."
Dominik Rostworowski Gallery, Cracow, 2000
Both the painting theme of still life taken up by Magdalena Nałęcz and the emotional way of its presentation suggest a few reflections of general artistic nature.
They regard the oil painting as a valuable object in itself, the place where it comes into being and a legendary complexity of the theme itself, which finds its expression in the artist's creation. Let us start from the point that she represents a form of colourist painting, which loosely inscribes itself in postimpressionist traditions. It is not only a study of nature as it will not shun excess, a subjective vision of painter’s quotation or symbolic elements. However, it inherits the eye culture typical for colourists denoting respect for the masters, for beauty, for the atelier and the particular attitude to the painting as an object both representing and represented, which finds its best place on the gallery wall.
In this context, a leading Polish colourist, Józef Pankiewicz, compared the surface of a painted canvas to the sensually tactile natural or aesthetic materials, more or less precious, for example "the polished agate" in Van Eyck's painting or "the melted ores" in Rembrandt's paintings. But he also referred to the paintings constructed as if from soap or candies.
Referring to the above-mentioned comment and in view of Magdalena Nałęcz’s textured way of placing the paint layers and canvas tones, we might compare their surface not just to precious stones - we might reserve this comparison to the master paintings which we tend to admire many years later - but to the equally riveting rough surfaces of raw stones, both river and roadside stones, as well as those covered in moss. Also the place where the painting is created seems to have its significance.
In her case it is a little atelier in the attic, a cramped space of creative existence having a special impact on the paintings’ atmosphere. Let us add that the venue where a work of art is born does not always have such a special influence on it. However, in this case the confrontation becomes interesting. We might interpret it in the following way: the artist paints her atelier, that is the objects which have been for a while abandoned or forgotten come back to attention, side by side with souvenirs evoking memories. However, one of the characteristic motifs, evoking such interpretation of her painting are the appearing here and there cigarette butts partly scattered around the ashtray. Also the half-open, empty drawer of the workshop table as the space emptied of content becomes similarly symbolic. All this, filtered through form, colour and mood suggest emotional attitude to the object and even the time of the day, which usually seems to be the evening. As regards, however, the mentioned legendary complexity of still life in her paintings, according to its aesthetic message we ought to refer here to the history of art. As the artist captures three enormous and at the same time spectacular traditions of the subject area in European painting. She achieves this either directly through a travestied quotation or through the way of seeing. We may thus find in her paintings references to the classical seventeenth century Dutch still life. And here the study of the detail and ornamental nature of the object seems inspiring for her - according to the spirit of those old representations. There are also quotations of the Postimpressionists on her canvases, e.g. from Van Gogh, or finally some music motifs inspired by Cubists. As regards the two latter traditions, they are manifested in proper studio approach to colour and geometrical composition. The very legendary character of those references is expressed in our view by spontaneity and fascination with the topic, on which so many works of art have been created and which is still an everlasting source of inspiration for artist painters.
Dominik Rostworowski Gallery, Cracow, 1998
Spain is an exceptional country, closing the western border of Europe, full of contrasts.
For ages it has been coexisting with many cultures, wonderfully merged into one melting pot between the Pyrenees and Gibraltar.
It rather seems to be the ground and stone than anything else, it is sensual and painfully sunk in itself. The Spanish peregrinations of a young painter Magdalena Nałęcz are her conscious choice, as she comes from Poland, the country closing the eastern borders of Europe. The country is marked with its complex history, rich tradition enhanced by the influence of other cultures, distinguished by the mental and artistic temper similar to the Spanish spirit. The artist presents to us her painting series at the exhibition, revealing her very personal attitude to the aforesaid reality. Magda pursues mature painting of expressionistic shade, highly personal, at the same time deliberately remaining in line with tradition. The theme of landscape provides a way of expression and assumes a certain attitude to life.
Her latest works remind us that the value of the land ought to be essential in human life, even if we live in cities walking on the tarmac under the concrete sky, the land is lying around us, primeval, covered only by the modern style of prevailing structures.
The artist skillfully draws up the curtains inviting us to a fascinating journey...
In the paintings on canvas she evokes landscapes, houses, lights, currently independent of certain geography. The burnt ground of Andalusia, the gentle slopes of Catalonia covered in olive groves, expressive views of Toledo, amazing Alhambra are the main motifs of the interestingly presented painting series. In those paintings, the aesthetic experience is the essential issue, whereas the reality moved aside to the background up to the point of creating a painted world of mystic and symbolic nature.
I have the impression that Magda Nałęcz reaches out to the essence in landscape painting tradition, making an attempt to achieve theological dimension of the landscape where on the apparently meagre ground she finds a place for God and the human being. The richness of the applied painting measures and excellent control of techniques enhances Magda's painting, sounding exactly in tune with the themes. The artist consciously applies her own rule which corrects the initial affection and makes it truly serious.
"The City of Cracow Mayor's Scholars", ZPAP Gallery Sukiennice, Cracow, 1997
The window in painter’s iconography is often interpreted as an expression of longing for freedom, unrestrained basking in light, space, movement; for what is distant but still within the eye's reach, is motivating to give up the conservative stability and the tormenting hiding place.
The latest paintings of Magdalena Nałęcz often show the bottom part of a slightly open window, illuminating the dusk, brown and ochre interior of the atelier, where on the window-sills and table tops there is still life consisting of glass laboratory vessels and utensils (flasks, jars, measuring cylinders, medicine bottles), tin funnels, cups and also smoked mackerels piled on plates, as well as musical instruments (the violin, an old golden trumpet).
Despite this seemingly rational reality, the paintings of Magdalena Nałęcz impact in the first place by vivid air, dense atmosphere of the dark interior, wherein light from the window extricates metaphysical flares and opalescence of nocturne colours. The previous cycles of the artist's canvases known to me might be qualified as more bold in the penetration of the window space. They presented the views of the city (Cracow), a coherent labyrinth of buildings and roofs, from which it was so close to the liberating sky.
Now, as if from a hiding place, Magdalena Nałęcz can see the city through the ajar balcony door or through a part of a radiant window. Almost each of the artist's latest painting is created out of those two spheres of "the light and shadow", let alone the landscape motifs of Spain and intimate still nature, whose main characters are two killed trouts on the plate. I take my time observing carefully all the colourful harmonies and nuances, especially on the large canvases. They are more difficult to compose and it is much harder to create the atmosphere and warmth of personal experience in them.
A hardly visible shape of violin placed on a wooden stool against the window is marked by just one reflection of light along an exquisite bent.
The mute sound of violin is possible owing to the light. Owing to the sunbeams, the austere interior of the atelier becomes unusually charming and magical. I recall a poem by Józef Czechowicz, beautifully sung by Marek Grechuta:
"My beloved, the amber dandelions are bowing
the valleys are being eclipsed by the mountains shadow
quiet with supper..."
In the still nature of Magdalena Nałęcz, the golden ochre, curcuma, browns and more luscious accents of red create the bouquet, which is common also for many accomplished painters of Cracow. Having been creating it for a long time, they find their soulmates in the young artists.
Pod Złotym Lewkiem Gallery, Cracow, 1996
(...) Magdalena Nałęcz, born in Rzeszów in 1970, graduated from the Cracow Academy of Fine Arts in 1995, let us add it was a Diploma with Honours. Her master and professor Jan Szancenbach, presenting the works of his students in 1995, wrote in his introduction to his alumni catalogue: "From that moment they will walk on their way (artistic - A.W.'s note) alone, maybe only now will they fully appreciate working in a team, which the academic atelier offers... A few years of working together allowed me to learn about their talents, personal predispositions, but also their diligence, enthusiasm and persistence in finding the beginning of their own way". I am convinced the professor was not wrong. What Magdalena Nałęcz shows us at the present exhibition is as good an account of her talent as her academic diploma was.
(...) Magdalena Nałęcz is highly disciplined, ascetic, creating an eerie panorama of the city we would never be able to see but for her paintings. The paintings of Magdalena Nałęcz, both urban landscapes and still lives are the masterpieces emanating a type of focus, rare in art nowadays. Sometimes you have the impression that this young, just a 26 year old author, continuing her painting visions wants to cross some mysterious Rubicon and enter the world covered with what our eye is able to see every day. Therefore, we face the canvases focused, that is why we wonder together with the authoress what is further and further on... You will seek randomness in the paintings of Magdalena Nałęcz in vain, her painting story is very logical in its own way and it is visible the decisions taken within the canvas space are repeatedly modified so that their final shape might lead us into a unique world of the authoress’ artistic accomplishments. The Cracow painter has chosen the right way as she has been trying to follow her individual way within traditional forms of painter's expression, as still life or landscape are such forms. Someone wrote once that the Cracow of Magdalena Nałęcz is the bird's eye view of the city. Indeed, the authoress selects as objects of her paintings unusual views of Cracow, its roofs, faraway spaces visible only from some highly situated places, where none of us would probably ever reach. It is also the Cracow without people, the Cracow of mysterious walls, composing into geometrical forms, the Cracow on whose roofs a sunbeam is roving and suddenly encounters a dusky wall of an old tenement house.
It is apparently our world. And yet, under the paintbrush of this Cracow artist it seems the world viewed from the other side of our reality.
"From Our Artists' studio", The Townhall Tower, Cracow, 1995
With high sensitivity and fancy Magdalena Nałęcz paints still life, mysterious interiors and urban landscapes seen for example from the windows of the Academy of Fine Arts or the atelier’s attic. The paintings and drawings presenting still life, fragments of the interior of the atelier and Academy rooms composed her Diploma cycle entitled "Remembered Places". The artist herself wrote about her works in the text enclosed to the cycle: "I select the objects for still life with the view to their form, colour or expression which captivates me. At the beginning I do not look for any symbolism in them, which may be included in their shape or function. If I place a skull in my still life composition, I do it in because of its rapacious form and specific colour. It is only in the process of painting, as a result of changes and new decisions when encountering other objects, that the skull may have multiple, possibly also symbolic functions. This single selected object becomes for me a pretext to constantly look for a new form of expression". So, each object functions in the art of M. Nałęcz mainly as the way of subjective, intuitive expression, as for that purpose it has been introduced into a created painting space, and only incidentally, in its archetypal symbolic function.
This rule relates to a high extent also to the group of works displayed in the Townhall Tower. It must be noticed that the young artist pays a lot of attention to the expressive values of light. Another important factor directing dramaturgy is the perspective.
M. Nałęcz selects for her paintings and drawings architectural motifs viewed from an unusual perspective, from the upper floors of buildings, from the attics, house roofs, viaducts. It is an unexpected city, unusual for the passerby viewing it while walking along the street. It is rather a "bird city", Cracow of the gliding pigeons and sparrows. The perspective of geometrical blocks of buildings presented from considerable heights often becomes disturbed. Another time, an element of architecture cropped out of a larger whole, transformed with light and colour starts living its own life. It is not easy to recognize in it the motif upon which it has been based - it functions independently, constructing a new, mysterious space. These architectural motifs, transformed by the artist's imagination, disciplined by her sense of composition, are the most interesting. A characteristic, blatantly obvious feature of Magdalena Nałęcz’s paintings is the absence of a human being in that kingdom of objects. Yet, her expressions seem to be filled with a secret life. Magdalena Nałęcz is starting her artistic career. It is not possible to state now, which way her further artistic development will go. It is on the other hand certain that the painter is in the group of exceptional graduates of the Cracow Academy. Her modest, and at the same time attractive works raise undoubtedly high hopes for the future. Therefore, it is worth paying attention to the young artist and remembering her name.
JAN SZANCENBACH, Cracow 1995
(...) the painting of Magdalena Nałęcz is rooted in that current of art where colour has played an essential role, both in constructing the composition of a work of art (building up space and light, balancing mutual proportions of the mass, sizes and weights within the canvas), as well as in shaping the atmosphere and expression of each painting. Against Polish traditions, which inspired the painters from the circle of the so-called "colourists" to draw directly from Cezanne's (creating the form with colour) or Bonnard's experiences (constructing the form with light expressed by colour). [...] It could be said that the paintings of Magdalena Nałęcz, in my opinion show some affinities with the art of a French painter Raoul Dufy (nowadays slightly forgotten). Certainly they have neither similar luminousness, as if based on stained-glass windows, nor equally sharp colouring, since in the paintings of Magdalena Nałęcz the dominant are shades of white, silver grey and black, only sometimes supported by a stronger touch of colour. On the canvas from the previous period, we used to observe more frequently colour solutions based on contrasts of the colour temperature and saturation. The space is quite often created by linear elements (as in case of Dufy - where "cartoon nature" is striking), and the patch of colour at times misses the linear form (another similitude to the afore-said artist's concept). (...) in case of M. Nałęcz (...) the actual circumstances of the presented motif - interiors, still life, landscape - often lose their validity to the favour of "abstract" division of the canvas, consolidating its elements, monumentalizing the holistic composition. I wish to firmly state that these are not any borrowings of the style of any painter I have mentioned, but some affinities in solving similar problems. From several years' observations of her work, I know she has reached those solutions by way of personal evolution and it is possible she might not pay closer attention to the work of those artists. Magdalena Nałęcz has graduated from the university this year and although her individuality is clearly marked, she is still at the beginning of her artistic career. Her painting will undergo transformations and further search for a more personal expression. Nevertheless, both a few years observations of her activity and some teaching experience (47 years of my job experience at the Academy of Fine Arts, wherein for 23 years I have been conducting the painting atelier through which hundreds of students have passed over the period) allow me to believe that the inborn abilities, the diligence which is seldom observed to be that great and a noble kind of creative persistence in exploring painting issues, which are her distinguishing features, will not allow her to give up the obtained artistic achievements (which unfortunately often happens in case of women) and she will explore, master and find new forms of artistic expression for her painting.
Jan Szancenbach, Cracow 1995