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The printmaking oeuvre of Małgorzata Stanielewicz, an effect of city life fascination, its constant transformations and degradation, is a part of a broader phenomenon, called by some the „dot linocut”. Despite the fact that the artist herself met the name relatively late and did not identify with it, her experimentative attitude relative to linocut matrix has its roots in phenomenal Jozef Gielniak, who defined Polish printmaking after World War II. Travels to the cities marked with its history and suffering juxtaposed with the force of nature strongly resonates with Stanielewicz's inner world which she portrays through architectural transformations into organic congeries of the artificial and the natural. [ABSTRACT FROM AUTHOR]

Vasily Kandinsky was usually portrayed by art historians as a creator of abstract painting. In particural there's a lot of interest in the so called munich period, in which he has made the very first "nonrepresentational" pictures. In the works describing the process of inventing abstraction, the influence of russian and german theosophical movement is always emphasized. So far only few scientists attempted to decode the extraordinarily complicated language of symbols, which has been constructed by artist from the beginnings of his creative work. By the use of seemingly disconnected motifs such as blue mountain, yellow mystical triangle, beautiful lady, couple of lovers, rider and many others, he envisioned a world undergoing continous dynamic catastrophes, leading to the final transformation. He believed that this change will happen due to the emergance of the third kingdom (as in the historiosophical triad of epochs: Father, Son and Holy Spirit, invented by Joachim of Fiore, and promoted in Russia by Dmitry Merezhkovsky). The repeating concept of "epoch of great spiritual" has been described not only by words, but also images. Its presence was distinguished by Sophia the World's Soul, initially by the character of beautiful lady and later nude woman. She has been always connected with mountain crowned by the castle, which meant beloved Moscow in Kandinskys symbolical dictionary. His home city survived in a Great Flood and it was not demolished by Apocalypse. Other, more metaphorical and lyrical depictions of Moscow are also present in Kandinskys works such as i.e. "Mother Moscow" as a woman (Kandinskys Mother). One can say, that depictions of Moscow the Third Rome and Celestial Jerusalem are some kind of bond, integrating the symbolical language and explaining the ever-repeating notion of castle on the top of a mountain. [ABSTRACT FROM AUTHOR]