July 19, 2009


Filed under: NEWS, Uncategorized — Tags: , , , — Anna Gulak @ 11:33 pm

Anna Gulak’s Diploma was chosen by the Authorities of the Academy of Fine Arts in Warsaw  for Poland’s “Best  Art Diplomas in 2009″ Exhibition.
The ceremonial Opening of the Exhibition was held on 18 July 2009 at 12.00 in the Great Hall of the Armoury in Gdansk, Poland.

Exhibition is open daily until August 15, 2009  from 11.00 am  to  5.00 pm
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Le opere del Diploma di Anna Gulak sono state scelte dalle autorità dell’Accademia di Belle Arti di Varsavia per i Migliori Diplomi d’Arte della Polonia di 2009 Exhibition.
La cerimonia di apertura della mostra si è tenuta il 18 luglio 2009 alle ore 12.00 presso la Sala Grande dell’ Armeria Antica a Danzica, in Polonia.

best art diplomas

upper part of a painting,  author: Anna Gulak

upper part of a painting, author: Anna Gulak

author: Anna Gulak

July 12, 2009


Filed under: NEWS — Tags: , , , — Anna Gulak @ 10:11 pm

The Defense of the Diploma at the Warsaw Academy of Fine Arts was held on June 29, 2009. The works were exhibited in the Czapski Palace also called The Krasińskis’ Palace Square (the Main Building of the Academy) situated in the heart of the historical quarter of Warsaw.

La difesa del Diploma presso l’Accademia di Belle Arti di Varsavia si è tenuta il 29 giugno 2009. Le opere sono state esposte presso il Palazzo Czapski chiamato anche Palazzo di Krasińskich (l’edificio principale dell’Accademia), situato nel cuore del centro storico di Varsavia.
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July 1, 2009


Filed under: ABOUT MY WORK, ABOUT MY WORKS — Tags: , , — Anna Gulak @ 4:22 pm
upper part of a painting,  author: Anna Gulak

upper part of a painting, author: Anna Gulak


Undoubtedly it’ s what we like, what is generally described as “captivating,” “miraculous,” ” sublime” or “lovely.” One can find beauty  in a landscape, in the proportionality of  someone’s facial  features, or in the warm smile of an older woman, reconciled with herself and the world. Beauty can be captured in the bud of a rose or in the colored composition of a painting. It can  also be expressed through the harmony of proportions, as a certain  aesthetic  order or as a canon of beauty adopted in a certain society and time. Beauty  is in the love of a mother, in  the joy of a child,  in an act of selfless love.
Its diversity shows that it is felt as a sensory impression or a spiritual feeling and can manifest itself in various forms :  beauty of nature, phisical  beauty of the human form, spiritual beauty and also as  beauty of forms  presented  in  reality or in the arts.
Over the centuries countless attempts have been made  to define this idea. In ancient Greece, not only beauty was equated with the idea of goodness, spirituality, morality, order, reason and  perfection but also all these qualities were required as a condition of beauty and art at the highest level. Later on this concept was  limited to determining what produces the aesthetic experience: namely the overall processes taking place in human consciousness, caused by personal contact with the work of art  (the  aesthetic object).

Art has always been one of the basic elements of culture. Until the end of the nineteenth century its purpose was to satisfy the human needs for  aesthetic experiences. Later on the understanding of art was  volatile.
Perception of beauty is one of the basic categories of aesthetics defined by Aristotle as what is pleasant or by Kant as what is liked with subjective necessity in a universal, direct and sincere way, and showed great variability and ambiguity in the history of aesthetics. Determinations of beauty are typically  and frequently encountered  as the objective properties of objects (especially as their configurations), such as: harmony, symmetry, proportion, measure and order,  visual or auditory quality, appropriateness or utility.   Historically formed and socially shaped as an ideal in a given period of time, beauty became the foundation of artistic creation.

“A painter whose duty is to paint a picture should paint it as beautifully as he is able to. What beauty is, I know not, though it adheres to many things. I would, however, like to understand  beauty in this manner: we should strive to do what in the history of mankind, the majority think beauty to be. ” wrote Albrecht Durer.

In my works  beauty  is  captured in still forms. It  is captured  motionless  on a sheet of paper, on a piece of canvas or trapped in the shape of a sculptural mass.  Like  the artists of ancient Greece,  I seek  spiritual beauty in order to demonstrate and express the beauty that manifests itself in the body . I strive to maintain the balance between presenting the beauty of human shapes and the veracity of the reality. Greek sculpture does not idealize the  abstract body, but rather seeks  the ideal  beauty  creating a synthesis of living forms  which  expresses   the psycho-physical beauty, harmonizing the soul and the body. It is  the beauty of forms and  the goodness of spirit. This  is the ”kalokagatia” ideal, which  also guides me  in my work. This kind of  beauty  is best  expressed by still forms,  in which a fragment of action or movement  finds its  balance and in which the  simplicity of expression  fully corresponds to  the variety of detail.

For me beauty is a value in itself and  an autonomous state of being. It doesn’t only depend  on the physical basis that expresses it. It is not related to this or any other physical object, but exists everywhere. Beauty is transcendental  and refers to an intangible world outside us. It corresponds not only  to what one sees but also  to  what is sometimes hidden and often not visible to ordinary mortals (like the famous outer ugliness of Socrates, who shone  with inner beauty).

In  past centuries a strong connection was assumed between beauty and goodness. For me  beauty also equates to what is good, not just what is physically modeled as the perfection of proportion. It is not only reflected in  the order and harmony of esthetic creation and acknowledged as a canon in a certain time and  culture but  also posseses spiritual values.
In my art I  try to express  beauty  as a ”truth of character”, which realizes certain values, such as artistic expression, artistic truth  and a romantic ambience,  in order to emotionally address the soul of the beholder. I try to expose this truth in the  portraits of people, in which the viewer perceives it, not only by  reason, but  also by emotion.

In my understanding , the true nature of beauty  is not sensuous, but mystical. It is the beauty which emanates from God  and shines not only on humans, but  on the Whole Creation. I hope that the viewer perceives it in my art as a contemplation of some degree of supernatural perfection.

The mystical nature of beauty also becomes apparent in  the  tangible form, as the conjunction of individual components. It appears in the harmony  of  proportions  of the human body (shown in my art in the paintings of the nude). I desire to express it through my art without restraint, with no hidden meanings, joyful in its existence and manifestations.
In addition to the symbolic and spiritual meaning,  it also has another task – to provide the viewer  an aesthetic pleasure. I want it to be  perceived by senses  and  without dissonance. My goal is not only to express it in the physique of the female body  but  also  to treat it as an important factor of the composition and the technique of all my works. Therefore, I take great interest in the aesthetics of formal solutions in all areas of my work.
I want  the beauty to manifest itself in living and dynamic performance, not in the lifeless and static  art. Therefore,  I take care to present the human form  with dynamism  that creates the illusion of reality. The purpose of my work is to show the  beauty  that is astonishing and restless. Its goal is to forge the bystander’s attention.

The imagination is the most important factor  in  percepting my works, as well as in creating them. It is the subject and the basis of all of my creative work, because it represents the power capable of empirically capturing  artistic and natural beauty.

Sublimity, is another important factor in my search for aesthetic expression, although in contemporary art  one can  see only negligible traces of it (and of aesthetics).  Sublimity is the factor  in which the  whole majesty of  symbolic beauty, which I wish to express in  my art, reproduces itself in. Sublimity, like ” the echo  of  a great soul” emphasizes the great and noble passions, which involve the participation of  the viewer’s emotions.
Enthusiasm  stands  first  during my act of artistic creation. Creation is a fundamental human need, embedded deep in our nature. The desire to leave behind a trace  or  to create something has accompanied  human nature since the dawn of history.  One acknowledges this seeing prehistoric cave paintings, which demonstrate the existence, the power and the sense of belonging to a given place.

Every artist sees the world in a different way, just like each individual person perceives  reality from a different point of view. Paul Klee wrote that “art does not reproduce the visible but makes visible.” Therefore, the  basis of my actions and  efforts is the need to  show the beauty of  Creation through my own individual language (by my subjective perception) and  to place  it  before the eyes of those who are unable to see it in the surrounding reality.