Eugeniusz Wiszniewski
oil/canvas 76 x 86 cm.
Eugeniusz Wiszniewski.
Member of the Association of Polish Artists. He exhibits and sells his paintings in Japan, Australia, Canada, the United States and Europe, as he finds amateurs of realistic art all over the world, and especially of landscape, in which critics find a variety of plans, a play of colors, lights, half-shadows, as well as the roughness of pine bark, the structure and size of leaves, and even the implicit reticulation of their veins. And it is difficult to deny such a writer his rightness, for the painter is a reliable documentalist of selected landscapes, existing here and now.
Reviewers who analyze his paintings always emphasize the perfectionism of his technique. His canvases are accompanied by a unique atmosphere and mood, making them paintings that are recognizable at first glance.
Art history is familiar with such terms as heroic and pastoral landscape, and scholars of the subject also distinguish fantasy and even intimate landscape. The art of landscape painting reached heights when they appeared, first Durer, then Bruegel, flourished under the brushes of such Dutchmen as van de Velde, Seghers, van Goyen, Hobbes and van Ruisdael, and conquered the world when Poussin, Lorrain, Constable and Turner revealed themselves, and consequently schools of whole trends such as the Barbizonists, Impressionists and Polish Capists. In a word, the history of landscape is as long as it is diverse, and without landscape there is neither history nor contemporary art.
By painting landscapes, Vishnevsky adds his chapter to the eternally spun, never-ending story of man's image of the world.
Critics analyzing Vishnevsky's paintings always emphasize the perfectionism of his landscapes. The realism of these canvases, combined with the static and seriousness, and even monumentalism of the compositions, the workshop-perfect realism, accompanied by a unique atmosphere and mood that makes these canvases recognizable at first glance, paintings that cannot be confused with others.
This praise of nature, admiration for "things as they are" with equal force as in landscapes, are also revealed in the painter's still lifes. The compositions of flowers and fruits, including fruits of the sea and glass glittering with reflected light, clearly refer to the most perfect model, the Dutch still lifes of the 17th century, Like those small masterpieces, Vishnevsky's still lifes are painted with a single tone of color and light in mind, and like those, they focus on the "quiet life" of objects, except that compared to the painter's landscapes, we are dealing here with a veritable eruption of color and almost baroque forms, so it is difficult to talk about "quiet life."
The painter, who practices such classical genres as landscape and still life, is also interested in composition. However, it is always a well-thought-out composition of color and light, accompanied by a specific form as a vehicle of expression.
The thesis of Andromenides (5th century BC) "art is not to say what no one has said, but to speak as no one else can," seems perfectly suited to the author's artistic beliefs.
This is why collectors invariably seek out the painter's canvases; for in them can be found not only the lyrical mood of an evening landscape, but also a longing for an ideal landscape. For the lost paradise.
