Marian Stroński was a keen observer, which is evident in the portraits he painted. To accurately depict his model, the artist carefully selected colors, painting style, composition, and lighting, and added objects that, following the example of Renaissance painters, further defined the subject. If a portrait was painted in an artist’s studio, recurring elements can be seen in various portraits. The face and hands are always the vehicle for the subject’s emotions. In the portrait of Irena Śliwa, a forty-year-old woman gazes intently with gray eyes. In this sensitive, yet seemingly cool, woman, Stroński saw strength of character, manifested in a firm chin and an intense, even penetrating gaze. The woman’s hands also appear strong, even though she delicately holds a yellow rose in one of them, as if casually. With her other hand, the model firmly grips the arm of the chair. Despite her crossed legs, she sits as if ready to move, to act. Stroński favored contrasting colors. Notice the woman’s intensely blue sweater, which matches her earrings and clip-ons. Through a varied painting style, the artist demonstrates what is important to him. Here, the most important element is Irena Śliwa’s face, which he renders with near-detail. Everything else is painted with broad brushstrokes. The rose held by the woman is not a random addition illuminating the composition. Irena Śliwa was an amateur painter from Przemyśl, one of the founders of the Przemyśl Art Club. She painted landscapes and cityscapes, but her favorite motif was flowers. That’s why Marian Stroński portrayed her with a rose. Finally, note the armchair in which the model sits and the fabric behind her. In the same armchair and with the same fabric in the background, Stroński portrayed his mother-in-law, Maria Bereźnicka. This painting is located in the first room.
