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DOI Artikel:Artykuły
DOI Artikel:Jaworska, Władysława: Zygmunt Menkes malary ecole de Paris
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.48914#0042
WŁADYSŁAWA JAWORSKA
it could be said, refined form of expression. He is a
superb colourist. His colours are deep, luscious, thick
nad sonours, dominant themes being pinks, an
elaborate range of greens and browns modulated by a
velvety black (ill. 3). He is also a master in his usage of
light.
Menkes never became a revolutionary artist, neither
in a deformation of form nor in a "wild" exaltation of
colour. It was not for nothing that he frequently visited
the Louvre. His admiration for the old masters drew him,
possibly unconsciously, into the mainstream of the best
traditions in art, teaching above all humility and respect
for the painter's craft.
Even though he became a part of his dreamed-of
Parisian milieu and thus came directly into contact with
great art and the most avantgarde tendencies of the time,
Menkes never broke his childhood links with both the
Jewish tradition and Polish culture. Jewish scenes are
constantly present in his painting (the Tora), and the
artist himself wanted his work to be included also in the
stream of Jewish art (ill. 7, 13).
Apart from presenting his works in the official
salons and private galleries of Paris, Menkes took part
in exhibitions organised in Warsaw, Cracow and
particulary in his birth city of Lvov (Lwów). He was
affiliated with such Polish artistic groups as "Zwornik",
"Nowa Generacja" and artists' union, Lwowski Związek
Zawodowy Artystów Plastyków, while in France he
was a member the "Group of Polish Artists in Paris"
("Grupa Plastyków Polskich w Paryżu"). In 1935 he
took part in the prestigious exhibition organised by the
association at the "Galerie des Beaux-Arts" titledPolisk
Artists active in France (Artyści polscy działający w
Paryżu).
The Second World War brought a new turning point
to Menkes' life. Together with his wife, Stanisława,
bom Weiss, his devoted companion, he left Paris in 1938
for the United States and settled there permanently.
From the time of his arrival in New York Menkes'
works were consistently seen at one man' shows and
collective exhibitions. From 1944 he was linked with
Associated American Artists Galleries A.A.A. He
received numerous awards and prizes, he held the title
of chairman of American Federation of Contemporary
Painters and Sculptors while his pictures found their
way into some of the most important private galleries
and museums of the world.
New stylistic elements may be perceived in the later,
so-called American paintings by Menkes. While he
retained his own persona! dynamism he introduced
certain simplifications of form tending toward a
geometrie approach. The faces he portrays become more
synthetic and anonymous. The modelling of the features
fades away, the figures and the faces communicate by
theirentirety (ill. 13). With time, we also observe a more
conspicous retreat from reality, a passing into another,
more spiritual dimension. He was now more withdraw
from nature which had always fascinated him so much
(ill. 14).
Menkes painted until the very end of his life. His
output is impressive. He left over more than a thousand
works. He died in 1986 in his ninety-first year of a heart
attack in his own home at Riverdale. Like Artur
Rubinstein his last wish was to have his ashes scattered
over Israel.
Translated by Peter Martyn
II. 15. Julian Żebrowski, Karykatura Zygmunta Menkesa, 1980 r.
III. 15. Julian Żebrowski, Caricature of Zygmunt Menkes, 1980,
drawing
32
it could be said, refined form of expression. He is a
superb colourist. His colours are deep, luscious, thick
nad sonours, dominant themes being pinks, an
elaborate range of greens and browns modulated by a
velvety black (ill. 3). He is also a master in his usage of
light.
Menkes never became a revolutionary artist, neither
in a deformation of form nor in a "wild" exaltation of
colour. It was not for nothing that he frequently visited
the Louvre. His admiration for the old masters drew him,
possibly unconsciously, into the mainstream of the best
traditions in art, teaching above all humility and respect
for the painter's craft.
Even though he became a part of his dreamed-of
Parisian milieu and thus came directly into contact with
great art and the most avantgarde tendencies of the time,
Menkes never broke his childhood links with both the
Jewish tradition and Polish culture. Jewish scenes are
constantly present in his painting (the Tora), and the
artist himself wanted his work to be included also in the
stream of Jewish art (ill. 7, 13).
Apart from presenting his works in the official
salons and private galleries of Paris, Menkes took part
in exhibitions organised in Warsaw, Cracow and
particulary in his birth city of Lvov (Lwów). He was
affiliated with such Polish artistic groups as "Zwornik",
"Nowa Generacja" and artists' union, Lwowski Związek
Zawodowy Artystów Plastyków, while in France he
was a member the "Group of Polish Artists in Paris"
("Grupa Plastyków Polskich w Paryżu"). In 1935 he
took part in the prestigious exhibition organised by the
association at the "Galerie des Beaux-Arts" titledPolisk
Artists active in France (Artyści polscy działający w
Paryżu).
The Second World War brought a new turning point
to Menkes' life. Together with his wife, Stanisława,
bom Weiss, his devoted companion, he left Paris in 1938
for the United States and settled there permanently.
From the time of his arrival in New York Menkes'
works were consistently seen at one man' shows and
collective exhibitions. From 1944 he was linked with
Associated American Artists Galleries A.A.A. He
received numerous awards and prizes, he held the title
of chairman of American Federation of Contemporary
Painters and Sculptors while his pictures found their
way into some of the most important private galleries
and museums of the world.
New stylistic elements may be perceived in the later,
so-called American paintings by Menkes. While he
retained his own persona! dynamism he introduced
certain simplifications of form tending toward a
geometrie approach. The faces he portrays become more
synthetic and anonymous. The modelling of the features
fades away, the figures and the faces communicate by
theirentirety (ill. 13). With time, we also observe a more
conspicous retreat from reality, a passing into another,
more spiritual dimension. He was now more withdraw
from nature which had always fascinated him so much
(ill. 14).
Menkes painted until the very end of his life. His
output is impressive. He left over more than a thousand
works. He died in 1986 in his ninety-first year of a heart
attack in his own home at Riverdale. Like Artur
Rubinstein his last wish was to have his ashes scattered
over Israel.
Translated by Peter Martyn
II. 15. Julian Żebrowski, Karykatura Zygmunta Menkesa, 1980 r.
III. 15. Julian Żebrowski, Caricature of Zygmunt Menkes, 1980,
drawing
32