Poland is historically known as the birthplace of great scientists and the cradle of scientific discoveries; however, the formation of the fine arts of Poland, historians and art historians undeservedly deprived of their attention. This is easily explained by the fact that during the Renaissance, as well as at a time when artistic trends such as impressionism, modernism and Dadaism developed in Europe, which, in turn, gave rise to many other styles, Poland found itself on the periphery of the art world. Nevertheless, the twentieth century was the heyday of the cultural life of this state, and the Polish artist Z. Beksinski, who became almost an icon of post-apocalyptic, is a confirmation of this.
Zdislav Beksinski: biography and creative development
The artist was born on February 24, 1929 in Sanok, a small Polish town where he spent his childhood. In 1955, having completed his studies in architectural craft in Krakow, Beksinski returned to his hometown, where he began working as a foreman at a construction site. Hateful work prompted the future artist to search for ways of creative self-realization: it was during this period that Beksinski was fond of photography, painting and sculpture from plaster and wire. Even then, the main characteristic features of the artistic manner that filled all the paintings of Zdzislaw Beksinski were manifested - attention to the smallest details and details, the image of tuberous surfaces, wrinkled faces distorted by suffering, as well as a metaphorical projection of individual experiences on canvas or in sculptural form. The figurative row is gloomy - broken figures, mutilated and faceless dolls, withered landscapes.
The development of Zdislav Beksinski as a painter
The first paintings of the artist, despite the presence of clear forms and images, gravitated to abstract art, but this period was short-lived. In the sixties, Bexinsky was imbued with one of the dominant principles of surrealism - trust in his dreams and turning them into the main source of creative inspiration. Nevertheless, the artist’s search was not limited to surrealism, no matter how fertile his soil was for the embodiment of the most painful and secret phantasmagoria. Until the end of the eighties in the works of Beksinski begins a "fantastic" period. It was then that the most recognizable images were created, inscribed in the outline of post-apocalyptic reality: all-consuming decay, death and chaos reign on the artist’s canvases. Almost all the paintings of this period were painted on large canvases, which makes the viewer even more impressed: the picturesque space practically absorbs and draws inward.
Towards the chronological end of the “fantastic” period, the artist’s work became technically more ascetic - numerous details disappeared, the color scheme became almost monochrome, which, however, did not affect the expressive power of the paintings. Some time later, Zdislav Beksinski mastered the principles and features of various computer graphics techniques and worked with various graphics programs almost until the end of his days.
The artist himself divided his creative manner into two types: Baroque, in which detail and figurative richness prevail, and Gothic, where particular attention is paid to form. It is easy to guess that in recent works Gothic style prevailed.
Zdislav Beksinski endowed his work with another unusual feature: there are no paintings with names in his creative heritage. Bexinsky never gave names to his canvases, allowing the viewer to immerse himself in the gloomy world and reflect on the individual experience received from the experience of his contemplation.
Recognition and international fame
Originality and stylistic originality of the artist earned him worldwide recognition. The debut exhibition in Warsaw took place in 1964, bringing the artist not only fame, but also material success - all the paintings were sold out.
A little later, in the eighties, Zdislav Beksinski became popular in Western Europe, the USA and Japan.
However, despite the success and recognition of the public, he did not lose his critical attitude to his work: at the end of the seventies, on the eve of moving to Warsaw and the heyday of exhibition activity, the artist destroyed many canvases, explaining that he considered them unsatisfactory and unexpressive.
The world of inner experiences of Zdislav Beksinski
It is still not known under the influence of what passions and experiences genius paintings of the artist were born, saturated with an aesthetics of pain, horror and absurd madness, which was equally characteristic only of compatriot Beksinski - writer Sigismund Krzhizhanovsky.
Acquaintances and friends of the artist noted his benevolence and cheerful disposition, while Beksinsky himself found some of his works “funny”. However, it is known for certain that, despite his mild nature, he did not shy away from the philosophy and tendencies of sadomasochism - he mentioned this in letters, and also devoted a series of graphic works to this topic.
However, in the late nineties, the artist was going through difficult times: in 1998, his wife Sofia died of a disease, and a year later, his son Tomas, a well-known music columnist, committed suicide. Beksinski never managed to come to terms with this loss.
Death of the creator
The artist tragically died at the age of 75 on February 22, 2005 - he was killed by teenagers, whom he refused to lend money. His body with traces of numerous stab wounds was found in a Warsaw apartment.
The enormous pictorial and graphic heritage of Zdzislaw Beksinski is still an artistic heritage of both Poland and the whole world; copies of his paintings are often used as album covers for metal bands, and Polish editions of the industrial legends of The Legendary Pink Dots were designed using them after the death of Tomasz Beksinski, who was a fan of them.