mixed technique, paper, 30.5 × 25.5 cm in light passe-partout
signed l. d.: ZS
"Stryjeńska is thoroughly original. At the time, demonstrating one's own distinctiveness, originality in art became one of the greatest dreams of Poland returning to the ranks of free nations.
K. Nowakowska-Sito, "Boginka z ziemiańskiej" [in:] Zofia Stryjeńska 1937-1976, Krakow 2008, p. 35.
Undoubtedly, the artist of the interwar period who most originally depicted the folklore of the Podhale highlanders was Zofia Stryjeńska. Born in Krakow, she absorbed the colorful folk culture of the multicolored crowd of traders descending on the market from villages near Krakow. She was not only an analytical researcher of highland customs, she created a colorful image in her own way, combining all the components that co-create the phenomenon of Podhale culture: rich dress, idyllic customs, landscape and the uniqueness of highland art.
"The turn of the nineteenth and twentieth centuries was a period of fascination of Young Poland artists with folklore in its broadest sense. The generation whose work culminated in the 1920s and 1930s was just as eager and frequent to reach for subjects related to Polish folk culture. The artist who owes her well-deserved fame to the creative use of folklore was undoubtedly Zofia Stryjeńska. The figures she created - impetuous, emanating energy, panache and vigor, colorful and dignified - were meant to reflect the spiritual values of the Polish peasantry. Stryjeńska's contemporaries noted that "the artist with astonishing intuition makes use of its [folk art's] most salient features, combining the fullest fantasy with a deep feeling for life, and poetic irrationalism with sincere humor" (Husarski 1926, p.3) (...) Thus, the closest formal analogies are based on the assortment of means in the decorative layer. These include ornament, color, rhythm and horror vacui. (...) As in folk art, the conventionality of the figure's movement is marked consciously in a
symbolic, simplified manner. In her works, the artist abandoned the conventionality, lack of action and hierarchization of figures so characteristic of folk painting. Inspired by folk themes, often using multithreaded representations, she always gives them a fast-paced action and individual facial features to the figures. In this way he makes the composition more varied and attractive. (...) The characters created by Stryjeńska are almost always dressed richly and tastefully, in a lordly though peasant way. She sometimes transforms these folk costumes in an almost fantastic way. (...)"
J. Slomska, "On Folkness," [in:] Zofia Stryjeńska 1937-1976, Krakow 2008, pp. 262-264
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