Sylwia Suma's images take us into the world of classical painting, following on from the revolution of vision initiated by the impressionists view painters absorbed pure, bright colours of nature, mainly from landscapes, transforming them with the power of sensation into framed transient phenomena. Having provided for the visceral experience of colour and light to occur, there could be only a return to a stable, further specified in the form of not only saturated colour, light, but with the viscosity of paint matter itself. S. Suma arrived to this artistic consciousness through her own way of exploration. Her painting is derived from an observation of nature, with selection accorded importance in severity as objective validity and aesthetic qualification. At the root of this, particularly in the landscapes, appear sensual received themes, fascination with the framing selected, that only in the process of painting succumb to far-reaching transformation, validating the importance of selection in building new, unique colour and light moods, but also new forms of structure. While still her impressionistic landscapes are dominated by light and emotional, joyful, bright color, it is also otherwise true of the numerous portraits, or more broadly - images of the form in which the system of the body, gestures, and finally face not only embody the character type, but the individual "building block" expression of emotion, architecture of expression. S. Suma does not stop on a plane of a sensorily perceived world in its perception, but wants it to be understood mentally and with plasticity to give it an appropriate expression. In the depictions of people can be observed a greater dynamic form of images. Impasto applied bigger planes of 'flat colour patches' emanating more with inner light rather than sensorily external lighting shone on the figure. Not without significance we find also deep traces, in some of the paintings, almost relief-like applied paint – authored paths of modeling form with plasticity and successive traces of decisions for painterly gesture. How important that is for "reading" final, galleried versions of painterly matter in the picture. Contrary to appearances, they are not just only the studied images of "subject", but attempts to preserve individualism, phenomena of character of specific forms in still lifes and in characters of figurative paintings, far transcending the depiction of physical resemblance to a reality beyond painting. The art of S.Suma restores to the viewer faith in actuality of the classical meaning of beauty, which in artistic development is not devoid from humanistic sense present in each work.