Collection

The set of Miriam Cahn’s works on paper serves as an extension of a very pictorial large-format painting entitled Mała rodzinka /Small Family/ belonging to the Museum’s collection. The disturbing, oneiric portrait of a family shows three figures with a blurred contour, primitivized features of the face and exaggerated, or even grotesque intimate parts, which created a field of conflict with unspecified vectors. Here, the small works (in terms of format) on paper represent similar intensity. On the one hand, we see the shivering figures looking from the frame (puppet-like and piercingly present in their defencelessness), surrendering to torturers contrasting with their quivering contour – dark and drawn with a strong line. On the other, there are the watercolour paintings belonging to a wider series of presentations of oppressive architecture and war vehicles (tanks, all types of guns or rifles), which serve as an echo for the human passions, both creative and destructive.

The set of Miriam Cahn’s works on paper serves as an extension of a very pictorial large-format painting entitled Mała rodzinka /Small Family/ belonging to the Museum’s collection. The disturbing, oneiric portrait of a family shows three figures with a blurred contour, primitivized features of the face and exaggerated, or even grotesque intimate parts, which created a field of conflict with unspecified vectors. Here, the small works (in terms of format) on paper represent similar intensity. On the one hand, we see the shivering figures looking from the frame (puppet-like and piercingly present in their defencelessness), surrendering to torturers contrasting with their quivering contour – dark and drawn with a strong line. On the other, there are the watercolour paintings belonging to a wider series of presentations of oppressive architecture and war vehicles (tanks, all types of guns or rifles), which serve as an echo for the human passions, both creative and destructive.