DOI article:
Turowicz, Joanna: Eve by Xawery Dunikowski: Modernist Transformation of the Biblical Type
DOI Page / Citation link: https://doi.org/10.11588/diglit.18949#0130
First, it should be mentioned that Dunikowski’s work, although widely
acclaimed, still lacks critical comment. This is due to difficulties both in
determining the chronology of sculptures from before the First World War
and in discrimination between prototypes and their subseąuent versions,
sometimes created over a dozen years later.2 However, the bibliography of
Dunikowskie work is vast, consisting as it is of hundreds of publications:
papers, exhibitions reviews or scattered fragments in generał critical works.4
The sculpture Eve I, entitled Study, was first shown in May 1907 in the
building of “Zachęta” Society for Encouragement to Fine Arts in Warsaw.4
This second individual exhibition of Dunikowskie works was surrounded
with mystery, enhanced by the fact that only invited guests attended the
opening. Apart from the already known Doom, Mother’s Portrait the artist
presented new works, such as three figures of Pregnant Women called Ladies,
placed on the floor, which shocked the public used to sculptures situated on
pedestals (ill. 3)7 The most controversial works, however, proved to be Eve I
and Self-portrait in the form of a life-sized nudę. Controversy concerning
this latter sculpture was so strong that it was removed from the exhibition
immediately after the opening.6
At that time Dunikowski was already known in the circles of the Warsaw
intelligentsia. Since March 1904 he held a chair of professor of sculpture at
the School of Fine Arts in Warsaw reopened after a long break.7 In January
2 This fact is pointed to by X. Deryng, “Rzeźba ‘polska’ na początku XX wieku czyli odwrócona
norma”, Ikonotheka, 2000, 14, pp. 129-132. That is why I give the sources for dating of
Dunikowski’s symbolic sculptures.
3 Cf. H. Kubaszewska, “Dunikowski Xawery”, in Słownik artystów polskich i obcych w Polsce
działających, vol. II, Wrocław-Warsaw-Cracow-Gdańsk 1975, pp. 121-123; A. Kodurowa,
Xawery Dunikowski. Rzeźby - obrazy - rysunki, National Museum in Warsaw, collection
cat., Warsaw 1975, pp. 45-55; Polska bibliografia sztuki 1801-1944, vol. III: Rzeźba, ed. by
J. Wiercińska, M. Liczbińska, H. Faryna-Paszkiewicz, Wroclaw-Warsaw-Cracow-Łódź 1986,
pp. 240-244. For the early works of Dunikowski cf. P. Szubert, Rzeźba polska przełomu XIX
i XX wieku, Warsaw 1995.
4 Cf. J. Wiercińska, Katalog prac wystawionych w Towarzystwie Zachęty Sztuk Pięknych
w Warszawie w latach 1860-1914, Wrocław-Warsaw-Cracow 1969, p. 71: Self-Portrait
(Autoportret), Study (Studium), Lady I (Dama I), Lady II (Dama II), Lady III (Dama III),
Doom (Fatum), Design for a Tomb (Projekt nagrobka), Head (Głowa), Mother’s Head (Głowa
matki), Head (Głowa). The fact that Dunikowski presented Eve I at the exhibition is proven
by the following review fragment: “[...] a completely naked woman with thin, disgustingly
rachitic legs [...] is holding a still-born embryo in her hand and looking at it in a melancholie
way”; cf. T. Jaroszyński, “Rzeźby prof. Dunikowskiego”, Kurier Warszawski, 87, 1907, 130,
p. 2. Also W. Wankie mentions: ‘“Female Nudę’ with an embryo in a hand”; cf. W Wankie,
“Z Warsz. Tow. Zachęty Sztuk Pięknych. Wystawa prac Ksaw. Dunikowskiego”, Świat, 2,
1907, 22, p. 11.
5 Cf. M. Treter, Ksawery Dunikowski. Próba estetycznej charakterystyki, Lwów 1924, p. 19.
6 Only Jaroszyński, op. cit., p. 2 mentions the Self-portrait: “On the opening day of the
exhibition one could see, now removed, a life-sized self-portrait without a fig leaf ”.
7 Artistic education in Poland during partitions faced serious obstacles. Due to restrictions
after the January Insurrection (1863) the School of Fine Arts in Warsaw was closed in 1865. It
was reopened in 1904 and granted the title of academy in 1932.
128
acclaimed, still lacks critical comment. This is due to difficulties both in
determining the chronology of sculptures from before the First World War
and in discrimination between prototypes and their subseąuent versions,
sometimes created over a dozen years later.2 However, the bibliography of
Dunikowskie work is vast, consisting as it is of hundreds of publications:
papers, exhibitions reviews or scattered fragments in generał critical works.4
The sculpture Eve I, entitled Study, was first shown in May 1907 in the
building of “Zachęta” Society for Encouragement to Fine Arts in Warsaw.4
This second individual exhibition of Dunikowskie works was surrounded
with mystery, enhanced by the fact that only invited guests attended the
opening. Apart from the already known Doom, Mother’s Portrait the artist
presented new works, such as three figures of Pregnant Women called Ladies,
placed on the floor, which shocked the public used to sculptures situated on
pedestals (ill. 3)7 The most controversial works, however, proved to be Eve I
and Self-portrait in the form of a life-sized nudę. Controversy concerning
this latter sculpture was so strong that it was removed from the exhibition
immediately after the opening.6
At that time Dunikowski was already known in the circles of the Warsaw
intelligentsia. Since March 1904 he held a chair of professor of sculpture at
the School of Fine Arts in Warsaw reopened after a long break.7 In January
2 This fact is pointed to by X. Deryng, “Rzeźba ‘polska’ na początku XX wieku czyli odwrócona
norma”, Ikonotheka, 2000, 14, pp. 129-132. That is why I give the sources for dating of
Dunikowski’s symbolic sculptures.
3 Cf. H. Kubaszewska, “Dunikowski Xawery”, in Słownik artystów polskich i obcych w Polsce
działających, vol. II, Wrocław-Warsaw-Cracow-Gdańsk 1975, pp. 121-123; A. Kodurowa,
Xawery Dunikowski. Rzeźby - obrazy - rysunki, National Museum in Warsaw, collection
cat., Warsaw 1975, pp. 45-55; Polska bibliografia sztuki 1801-1944, vol. III: Rzeźba, ed. by
J. Wiercińska, M. Liczbińska, H. Faryna-Paszkiewicz, Wroclaw-Warsaw-Cracow-Łódź 1986,
pp. 240-244. For the early works of Dunikowski cf. P. Szubert, Rzeźba polska przełomu XIX
i XX wieku, Warsaw 1995.
4 Cf. J. Wiercińska, Katalog prac wystawionych w Towarzystwie Zachęty Sztuk Pięknych
w Warszawie w latach 1860-1914, Wrocław-Warsaw-Cracow 1969, p. 71: Self-Portrait
(Autoportret), Study (Studium), Lady I (Dama I), Lady II (Dama II), Lady III (Dama III),
Doom (Fatum), Design for a Tomb (Projekt nagrobka), Head (Głowa), Mother’s Head (Głowa
matki), Head (Głowa). The fact that Dunikowski presented Eve I at the exhibition is proven
by the following review fragment: “[...] a completely naked woman with thin, disgustingly
rachitic legs [...] is holding a still-born embryo in her hand and looking at it in a melancholie
way”; cf. T. Jaroszyński, “Rzeźby prof. Dunikowskiego”, Kurier Warszawski, 87, 1907, 130,
p. 2. Also W. Wankie mentions: ‘“Female Nudę’ with an embryo in a hand”; cf. W Wankie,
“Z Warsz. Tow. Zachęty Sztuk Pięknych. Wystawa prac Ksaw. Dunikowskiego”, Świat, 2,
1907, 22, p. 11.
5 Cf. M. Treter, Ksawery Dunikowski. Próba estetycznej charakterystyki, Lwów 1924, p. 19.
6 Only Jaroszyński, op. cit., p. 2 mentions the Self-portrait: “On the opening day of the
exhibition one could see, now removed, a life-sized self-portrait without a fig leaf ”.
7 Artistic education in Poland during partitions faced serious obstacles. Due to restrictions
after the January Insurrection (1863) the School of Fine Arts in Warsaw was closed in 1865. It
was reopened in 1904 and granted the title of academy in 1932.
128