Eve's Signature
Born in Poznań on October 9, 1950. He studied at the State Higher School of Fine Arts in Poznań. Diploma in 1974 in the studio of: prof. Zdzisław Kępiński and prof. Magdalena Abakanowicz. In 2009, he was awarded the Gloria Artis medal by the Minister of Culture and National Heritage. Winner of awards at dozens of international art exhibitions.
His works are in the collections of: the National Museum in Szczecin, the National Museum in Wrocław, the National Museum in Kielce, the Museum of Art in Łódź, the National Museum in Prague, the Pushkin in Moscow, the Museum of the Lubusz Land in Zielona Góra, the Museum of the Middle Oder River in Świdnica, the District Museum in Radom, the Ethnographic Museum in Chojnice, the Museum in Bielsko Biała, the Pinacotheque in Szczecin, the Silesian Museum
in Katowice, BWA Warszawa, BWA Szczecin, BWA Rzeszów, Humboldt University in Berlin, Polish Institute in Paris, Berlin Gallery, Collection of the City of Arras in France, Deustche Bank Warszawa, Higher Theological Seminary in Olsztyn, Collection of the Studio Theater in Warsaw, Hilton Hotel Łódź , Gallery - Collection of Sylwia and Piotr Krupa in Wrocław, Provident Polska S.A. Warsaw, UNIBEP S.A., STOEN S.A., as well as in private collections in Poland and many countries around the world.
Iwona Szmelter about the artist's works: „The power in Andrzej Fogtt's Pictures"
"There are not many such strong statements in art. Andrzej Fogtt's paintings are among those scarce magical phenomena in art, purely humanistic human reactions to the mystery of existence. The fascination and joy of creating are reflected in these paintings, many indicate the internal rhythm and energy, vibrations of color, agitation and experiences of the recipient. Impressions are now rarely available in the face of ubiquitous journalism in the newest art, and more broadly, in culture. This painting is neither a mirror nor an imitation of natural reality, but an extract from experience, it constitutes a strong poetic and painting supplement. Beauty, the aesthetics of painting are not its fullness, a metaphysical supplement is placed next to painting or to overcome it. This kind of painting, expressing the ineffable, gives power and a deeper meaning to art. From the element of painting, whose origins are equal to the emergence of the need for abstract human thinking, his first palettes and paintings of ocher, red and green earth clays in the Blombos cave 100,000 years ago, we bring in the power of something that is so difficult for us to define today, i.e. art. The painter ‘stopped the course of existence for a short while and created a permanent and unchanging object: he created space from time and closed his space with a contour, and the force of experience gave this contour a shape full of expression, it became order, unity, a formal equivalent of the emotion experienced" - this is the sense of being a painter voiced by Herbert Read. It is not tradition but strength, the power of art reaching the premiere of painting that was created at the dawn of the history of civilization, the art of the Paleolithic. Why is it so that colors, the ground, a few spots in some paintings remain only colors, in others they become racial painting, and in still others deaf, they are a record without their own energy and force of existence. This sound, interaction, and metaphysical supplement are just a few. What is this phenomenon in painting? Accustomed to academic considerations, I choose for Fogtt's painting an analysis closer to the work itself. "
