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of the Malbork
Castle Museum
Accompanying exhibition

A permanent part of the programme of the Biennial of Malbork is constituted by authorship exhibitions of masters within the field of the exlibris. Such cameral presentations of unique miniature works of art reflected in few editions, sometimes only in one copy, constitute an amazing opportunity to show the works of contemporary masters of gravers and aqua-fortis etching, which allure with artistry and unrivalled expertise of their workshop.


Sometimes the authorship exhibitions are enriched with works from the field of multi-format graphics, drawing and painting.


Previous years saw a few retrospective exhibitions of works of the most prominent Polish engravers, amongst other, Wojciech Jakubowski, Henryk Feilhauer, Eugeniusz Get Stankiewicz, Krzysztof Skórczewski and Wojciech Łuczak as well as the master of mezzotint technique, Włodzimierz Kotkowski.


The authorship exhibitions have always offered catalogues richly illustrated with reproductions of the presented engravings as well as essays dedicated to works of some graphic artists.
 

The twenty fourth exhibition of the International Biennial Exhibition of Modern Exlibris constitutes the closing clamp of the period of five decades of this world’s oldest cyclical event of artistic character, which presents the most interesting trends and paths in art within the contemporary exlibris.


The Golden Jubilee of the Biennial of Malbork (1963-2013) has become the pretence for the organisation of an exhibition which presents posters and medals, which were awarded as part of the various editions of the aforementioned cycle.


„Biennial posters are characterised by the great formal and stylistic variety, which apart from the individual characteristics of their creators’ workshop also stem from the contemporary trends in art and from designers’ artistic preferences. Within the group of posters which opened the further exlibris exhibitions from the first Biennial until the eleventh edition which was held in 1986, what is visible is the vivid tendency towards the synthesisation of the various forms of the language of graphics. The various works dating back to the aforementioned period captivate with their conciseness and the order of the visual means applied, with their flat background and frugal palette of subdued colours.


Within the Biennial posters dating back to the second half of the 1980s there have emerged new inspirations and trends within the scope of plastic composition as well as the graphic workshop. The authors more willingly reached out for means which had formally been considered as laying closer to the art of painting rather than exploitation and usage type of art. The line responsible for the creation of forms became much more flexible and finessed and the contours of the presented objects merged with the background more easily in comparison with the past. The Artists also seemed to posses greater inclination for the application of the metaphorical polysemy and expression. The main motive of the composition of posters, starting from the 12 Biennial exhibition organised in 1988, is constituted by human figures as well as by the elements of the landscape” (fragment of the text of B.Omieczyńska which is to be found within the catalogue of the exhibition entitled Pół wieku z ekslibrisem, (Half of a millennium with exlibris) Malbork 2013).