signed on the back on canvas p.g.: Jacek Sienicki | Wnętrze pracowni XI | ol. pł 147 x 98 | 1975 | 30,000
on the reverse in the p.d. corner a faintly legible stamp Desa Dzieła Sztuki i Antyki.
Interiors in Jacek Sienicki's paintings usually depict the interior of his studio. About this motif in Sienicki's painting, Stanislaw Rodzinski wrote: Jacek Sienicki's studio in the Old Town is small, even cramped. It has a strongly defined sloping ceiling, with two windows heavily carved into it. On one side are piles of canvases, drawings in rolls, on the other - tables with utensils, the painter's workshop. [...] With large, wide streaks, almost by heart, already knowing the "look" of the interior, he chalks it up to a painting. [...] It's impossible not to correct, not to "dig" (this term captures particularly well the passion with which Sienicki picks at the seemingly finished canvases). [...] Nearby, familiar objects and interiors prove to be still necessary. Observed in their structure in the sizes of the planes, in the forms of the objects, they will serve for further dabbling. (S. Rodziński, Jacek Sienicki, catalog of Sienicki's exhibition at BWA in Cracow, 1971, pp. 12-14)
Jacek Sienicki (Warsaw, February 29, 1928 - Warsaw, December 14, 2000) studied at the Faculty of Painting of the Academy of Fine Arts in Warsaw, where he received his diploma in the studio of Prof. Artur Nacht-Samborski in 1954. In 1955 he was a participant in the Exhibition of Young Visual Arts at the Warsaw Arsenal. Participation in this manifestation was not only a proper debut for the artist, but also defined for years his attitude, shared with other "Arsenalists", whose principles were: the primacy of ethics, skepticism towards passing artistic fashions, loyalty to oneself. In 1955 Sienicki began teaching at his alma mater. He passed through all academic levels, receiving the title of professor in 1981. He was the recipient of significant awards, including the Cyprian Kamil Norwid Criticism Award in 1974, the Jan Cybis Award (independent) in 1984, and the Alfred Jurzykowski Foundation Award in 1993. From his early years, his painting oscillated between figurativism with an often dramatic existential message and a tendency toward abstraction. At the same time, the painter did not abandon a rather limited set of favorite motifs, which included horse skulls, elongated figures, dark interiors, which he played out in a similar dark-cold color range. In parallel to painting, he drew a lot, usually in charcoal, treating works in this technique as autonomous works.
