When was rafal olbinski born

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Whoa, you've got an older browser! Main menu. Create an artist page. Register a gallery. Sell an artwork. Add an exhibition. Apps for artists. Apps for galleries. Rafal Olbinski Poland born in XX century. About the artist. Rita Joyce Artist. Riaa Best Sellers Top Artists. Ruth Wilcox Artist. Robert Thorne Waite Artist. Richest Reggae Artists Robert Burghardt Artist. Rich Mullins Artist. Roshan Prince Artist. Ruth Lyne Artist. Royden Martin Artist. Without the presence of the seductress, the virtue of ambiguity is disabled, impotent, and therefore unable to perform.

Paradox and ambiguity are important in an Olbinski painting. To paint a purely literal interpretation of a scenario is to reduce its affect. Without seduction, there is no real paradox and no ambiguity. There is no irony that connects us to our humanity. Irony is what makes us laugh and cry, and it is what gives these paintings their subtle force.

Without the seduction of the temptress — even when disguised as the forest glade that invites the Chrysler Building — none of this happens. There is a paradox visible within each painting. In Casual Temptation, the focus is clearly given to the central figure; a young woman scantily clothed in a bathing suit fondles her pearl necklace.

Even so, we view the woman almost nonchalantly— concurrently — with the sailboats that glide across the sea. Her allure is phantasmagorical, yet ultimately seductive. Here no figure is present. Rather we are looking at an empty, brightly sunlit room. Most likely, the room is the office of an analyst with certificates framed on the wall. The cumulus clouds in the sky outside of window connect with another cumulus cloud that rests inside the room on a couch designating for reclining.

Above the couch is the artist's reproduction of an abstract portrait of a woman by Picasso, Le Reve The Dream , A small cat lies on the rug in front of the couch, and an open book with a demitasse sits on a small table nearby. A poetic quality exists both within and between these two paintings, revealing two sides of a woman. In Casual Temptation, the seduction is more direct.

In Intimacy Revealed this quality is perceived more indirectly, more erotically, in the form of a cloud that symbolically reclines on a couch. In each case the seductress takes a different form, as the paintings themselves test the air between men and women from a transformative, dream-like, even voyeuristic point of view. The sexual subject matter is pervasive in the work of the artist, but it is also complex, as I have tried to suggest.

There is literally more than meets the eye. One senses that the eye of the artist is rarely detached from the body, which further suggests an involvement — no matter how detached or discrete — not only with the design of the figures, but with their hidden imaginative aspects, almost as if somehow his figures were removed from time and kept still within the space of a dream.

It just so happens that all of these terms could be used to describe the reality of everyday life for an artist growing up in Communist Poland.

One of the elements of that reality was a constant game with censorship, requiring skillful handling of the metaphor. Rafal Olbinski was born on February 21, in Kielce, a small town where the gray reality of post-war life was colored with youthful dreams. His high school teachers introduced him to classical poetry as well as Greek and Roman mythology. After graduating from high school he enrolled at the Department of Architecture at the Warsaw University of Technology.

During this period of political repression Polish posters had great popular appeal because they played the game of metaphors while implementing surrealistic humor. While still in school, Olbinski began to design his first posters and decided that creating art, not architecture, would be the source of his livelihood.

In , Olbinski began working as art director for Jazz Forum , the iconic international jazz magazine founded in Poland in In Communist Poland, jazz was synonymous with freedom and Jazz Forum was a window to the world. It was during this period when he developed his unique visual language of symbolism in a precise and painterly style, touched by a piquant wit and the element of surprise. His also became known for his practice of freehand lettering in his posters, which is an integral part of the composition.

His work at Jazz Forum opened many doors, leading to his design of several Polish record labels and album covers. During this decade he also joined a group of artists creating circus posters, often using humorous or ironic metaphors to depict a subject.

Most of his illustrations were executed in a realistic style with a static composition, limited to a palette predominantly in warm browns. Olbinski continued to develop his own catalog of intriguing metaphorical imagery, always presenting visual puzzles for the viewer.

At the same time, his approach is tempered by a quest for classic harmony and beauty. Both his settings and his characters are grounded in realism but they oscillate around unexpectedly playful and surreal associations.