Andrzej Warzecha
In “Piano Nobile” Art Gallery at Cracow Main Square, an exhibition of Marek Niedojadlo’s 27 paintings can be seen from the beginning of June. The artist is connected with Tarnow artistic milieu. He was born in Tarnow and studied in Academy of Fine Arts in Cracow, on the faculty of painting. He got a degree in 1981 at Professor Zbigniew Grzybowski. On the territory of Tarnow diocese, he is known mainly for creating numerous church polychromes, stained-glass windows and sacred paintings. However, Marek Niedojadlo also practices exciting easel painting.
This time, in the famous Cracow gallery, he presented his landscapes, inspired with the scenery of Tarnow land. It’s been a long time since enthusiasts of art could admire paintings created with such spontaneity and sensibility. As soon as I entered the display hall, I found myself in another world. The world of decided (and strongly affecting the viewer) colours, their combination and bizarre constellations. Everyone, who wants to see this exhibition, will become convinced that there are still artists, who derive pleasure from painting and who create painting world to pass on good information; to tell us that there is a natural beauty around us. Beauty to which we should recourse whenever we have problems and we think that nothing good will ever happen to us.
Marek builds his paintings spontaneously and intuitively – that is the first impression. But when we look at his art carefully, we will come to a conclusion that the emotions, spontaneity and painting passion are exposed to intellectual correction. His paintings, although they seem to be painted quickly and under the influence of emotions, have a very well-considered composition. Thus, we are both emotionally and mentally satisfied. Although Niedojadlo’s paintings are filled with expression obtained from unusual combination of colours and his own, bizarre light atmosphere, some of them are metaphysical, which makes some of his paintings similar to the ones of Stanislaw Rodzinski. I get the impression that, apart from all the differences which differentiate those two artists, there is some mysterious similarity between their artistic thinking.
In this short periphrasis of Marek Niedojadlo’s exhibition, there is no room for a deeper analysis of the thesis I have just advanced. However, it would be a great intellectual pleasure to investigate this problem. Although it is a height of summer, I truly recommend seeing Marek Niedojadlo’s exhibition, as it shows a synthesis of this summer, vivid euphoria of nature.