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"Forgiveness in Lack of Repent"

Marta Sytniewski

Oil on Canvas,  

30" x 50"

100% original, 100% hand panted

COPYRIGHT©Marta Sytniewski 2010.




This painting is set with a great blue sky and an overall blue theme. Blue is a cold color that in Christianity is known to be the color of the Virgin Mary. In Christian symbolism, blue represents heavenly grace, health, service and hope. A large, luminous sun reveals an embedded cross that mirrors the proportions of the cross present on the Angel’s neck. The space enclosed by the Angel’s wings and outlined with the clouds that follow the direction of the wings, reveal the shape of a heart. The wings are proudly extended to demonstrate their cold gray colors and purple shadows. The secondary color theme of purple outlines the color of Advent and mourning. Advent is the Christian time that marks morning after the death of Christ as well as waiting for his resurrection. The tertiary theme of gray is a reflection of sadness.


The lower half of the painting presents Lake Michigan and Chicago skyscrapers. The bridge is heavily textured in an imitation of concrete. It features heavy contrast within its holes to allow the lake to transcend as a unifying feature. The Artist’s initials are stylistically embedded on the bridge as a modern feature and an important part of the painting’s overall composition. Towers symbolize God’s refuge. The towers represent buildings that have been in Chicago in the far past, in the recent present and in the near and far future. Some towers are universally recognized while others are seen as less important. Certain towers are known by their names while others are known only by their address. The careful selections of towers for this painting is to show the presence of time (past present and future) and in analogy to what is good and possible. Some towers outline change due to historic events and restrictions imposed by law. Other towers were included to demonstrate failed goals, social utility, historic and monumental significance.


The order of the towers is as follows, starting from the left-hand side. The Chicago Spire, Marina City I and II, 330 N. Wabash, The Trump International Hotel and Tower Chicago, Waldorf-Astoria Hotel and Residence Tower, Lake Point Tower, Willis Tower, and 311 South Wacker. The Chicago Spire was a conceptual building planned in Chicago whose construction was suspended. Measuring 2,000 feet, it would have been the tallest building in the US, the tallest all-residential building in the world and tallest free-standing structure in the Western Hemisphere. It was included in this painting to show the grandeur of human potential, ability and aspirations. The Chicago Spire signifies unfulfilled goals; a future changed.


Marina City I and II are corncob shaped multi-purpose residential/commercial building complex. Marina City was thought as a city within a city because it contained a theater, bowling alley, an ice ring, swimming pool, restaurants and stores within its structure. It was built to reverse the pattern of white flight from the city’s downtown area. Mariona City I and II were included in this painting to demonstrate a socially and historically important event; a goal successfully achieved. 330 N. Wabash is  the former IBM building, that is not very well known as other scrapers included in this painting. This tower was declared as a Chicago Landmark on February 6, 2008 and added to the National Register of Historic Places on March 26, 2010. 330 N. Wabash was included in this painting to show significance in spite of a lack apparent unique visual features.


The Trump International Hotel and Tower Chicago was planned to become the world’s tallest building, however these plans were downsized after the September 11, 2001 attacks. The Trumph Tower was included in honor of this historically inspired change. It was chosen to remind the viewer of 9/11 as a result of limited, self-centered or the absence of  love and forgiveness analogous with the man in this painting. Waldorf-Astoria Hotel and Residence Tower is a planned luxury condominium building to be built in Chicago. The scraper is planned to feature a square base and a scalpel shaped top. The building is awaiting complete approval of its plans. The Waldorf-Astoria tower was included in this painting to signify a hopeful, realistic and near future in hope of the viewer’s analogy of forgiveness being attainable and near.


The Lake Point Tower is a residential building that constitutes the only skyscraper in Chicago located east of Lake Shore Drive. It is the world’s shortest tower to contain 70 floors. The Lake Point Tower is located on the shore of Lake Michigan and it’s able to withstand strong winds and dangerous weather. This tower is specifically placed in the center, directly behind the angel in this painting. The tower appears to emerge from the angel and to be protected and covered by her. This is to signify that that both objects are enduring hardships. This painting points out that the hardships of human indifference, material focus, and egocentricity are greater than those of natural disasters.


The Willis Tower used to be the tallest building in the world in 1974. Today, the Willis Tower constitutes the tallest building in the United States. The building’s planned height was restricted by the Federal Aviation Administration to protect air traffic. Willis Tower is the most iconic skyscraper in the US that appeared in multiple movies, books, magazines, and television shows. Willis Tower is included in this painting to symbolize successful achievement of new heights despite of imposed restrictions. 311 South Wacker is the tallest scraper known only by its street address. The building encompasses a large winter garden that features palm trees, fountains and a bronze statue. This building was chosen to outline that even those without a name are important. This painting also says that the integration of nature with human-made structures (the tower’s garden) is something we should to strive for, especially because of the need for organic living and in face of global warming. This message is reinforced by the lack of green vegetation expressed in this painting.


The angel’s wings, although magnificent, have suffered by missing several feathers in their structure. The man laughing selfishly and enjoying his material possessions (the feathers) at the bottom half of the painting ripped the missing feathers out from the angel’s wings. The man plays with the feathers and looks with and intense focus and joy in awe of their value. The man’s posture further extenuates his greed and self-indulgence. His intense focus and laugh demonstrates a lack of remorse; a lack of regret and a lack of consciousness for his wounding the angel. For the greedy man the act of hurting the angel is justified and quickly overlooked by his focus in the end-result: the material possession of valuable feathers. This is to demonstrate the ideal of end-result being valued in the industrial world, above and beyond the means of the goal attainment. The overall painting composition seems to derive light from the great sun, except for the man. The man displays a main frontal light source to indicate that the main light in his life is not God’s light (the sun), but rather it is a light coming from the outside world in which the person viewing the painting is.


The angel stands behind the man who hurt her, as a guardian angel. With tears in her eyes and pain in her hart, she prays for him who hurt her. Her one hand pushes against her hart in a fist to indicate her great pain. Her other hand is gently lifted in a blessing and in prayer above the man’s head. Her stunning face looks up to the haven, in a plead to the Lord to have mercy on the man who lacks remorse. Her piercing eyes are full of luminous tears, created with high gloss, that illuminate with angled light hitting the canvas. The angel’s hair is blown away with the strong force of the wind created by the movement of the extension of her wings. The angel’s dress is part of the concrete of the bridge upon which the man is placed. This is to demonstrate strong indestructible ties, from which, even is she desired to, the angel can never escape. The dress is set apart with finely detailed floral design.


The angel’s face is sad, yet dignified, with an illusion of plea, hope and love. Her posture is caring and protective of the man beneath her. With enduring pain, suffering and imposed immobility, the angel forgives her wrongdoer and prays for his well-being and for God’s mercy over him. The man is indifferent to the angel’s suffering, to her forgiveness, and to her care and love toward him. This is to demonstrate that the virtue forgiveness is selfless. Forgiveness forgets and lets go of any resentment and negative feelings toward the other person. With sincere forgiveness one wishes well for the object of this affect regardless of the object’s indifference and lack of regret and repent. The Guardian Angel’s wings are spread wide and powerful, and in this motion, the “missing feathers” which symbolize her pain and suffering are barely noticeable. In the perspective of the whole extend of the “wings” the missing feathers lose their relevance. This is to demonstrate that in the global perspective, in the perspective of one’s life as a unified whole, the indifferent wrongdoings of others seem small. It is in view of the global perspective that we can become able to virtuously forgive those who rejoice in their sins against us. Idealistic forgiveness that is fueled by an unreturned love and care is most imaginable between an always loving and forgiving mother and her child. This particular painting exemplifies such virtuous forgiveness as attainable and possible through the extensive symbolism and the painting’s overall composition.


This M. Sytniewski’s 100% original oil painting is titled “Forgiveness” for it demonstrates the most virtuous embodiment of forgiveness. In previous art, whenever an artist attempted to paint forgiveness, he or she painted a repenting sinner who: * regrets his or hers sins, * suffers from his or her sins, * faces punishment for his or her sins, * or begs someone to forgive him or her. M. Sytniewski’s painting is the first painting in the history of art to demonstrate forgiveness in spite of a lack of repentance and in face of extreme indifference and joy in hurting the person who forgives.





This painting features informative, educational and socially constructive content that identifies Marta Sytniewski’s independent Significant Art Theory


Marta Sytniewski's oil paintings are 100% hand painted, they are not computerized and they are not printed. M. Sytniewski’s paintings are authentic 100% artist labor oil paintings.


No reproductions, no limited editions and no copies have been made of  this Beautiful 100% ORIGINAL Marta Sytniewski oil painting.


The technical difficulty, advanced skill level, complex detail, intelligent composition, continuous painting production and education (Trained in art privately, independently and academically since early childhood. Completed B.A. Psychology with highest honors, pursuing M.A. Studio Art), talent of  Marta Sytniewski and her work, and scarcity of similar art, combine to valuate Marta Sytniewski's oil paintings as especially lucrative assets with positive and fast-paced projected investment growth.


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