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#0139
at the threshold of existence, the moment of birth and death interwoven
in one.
The same motif of a pessimistic vision of the early stage of life can be
found in Dunikowskie sculptures: Breath /, both versions of Eve I as well as
in Tbought, known from Kleczyński’s description, where an embryo was
supposed to rest on an open hand.” There is a strong resemblance between
this motif in Breath I and the element placed in the left Iow corner of the
rim in Munch’s famous graphic Madonna, many versions of which are
known (ill. 7). In the Przybyszewskis’ salon Zapolska probably saw a changed
version of Madonna, rendered in the etching techniąue (ill. 8).'4 In the left
fragment of the graphic two embryos with huge heads and spindly legs
appear, very much like the one held by the bald demiurge in Dunikowskie
composition. The demiurge itself, with egg-shaped scull, hollow eyes and
pronounced cheek-bones reminds one of the phantom-like creature from
Munche Screamd3 The sculptor must have known these famous graphics
which Przybyszewski reproduced in Zycie and a photo of the lithography,
known today as Madonna, that he even put out for sale under the name
of Symbol.2,6
One may pose a previously unasked ąuestion whether Munche works
from the Przybyszewskie collection (both original and in reproductions)
constituted a creative impulse for Dunikowskie artistic search. The embryo
found in Breath I and other sculptures suggests Dunikowskie interest in the
Norwegian artiste work. However, contrary to the obvious influence of
Munche works on young Weiss, in this case it is impossible to give a definite
answerd Thus it seems worthwhile to hint at a broader ąuestion: what
impulses influenced young Dunikowskie imagination? What intellectual
stimuli madę him embark upon a radical ąuest for new forms-symbols
which resulted in such works as Breath I, Doom 38 or Eve /? The sculptor began
his activity in an unusual period in Polish art when intense transformations
in culture and art took place. The turn of the 19th century was a period
of strengthening demands for autonomy of literaturę and fine arts with
Przybyszewskie manifestos among them. According to him, art should depart
from its mimetic functions and fathom new, unexplored areas of consciousness.
33 J. Kleczyński, “Z Salonu Krywulta. Ksawery Dunikowski”, Kurier Codzienny, 41, 1905, 22, p. 2.
34 Sissel Biórnstad in her letter to me of April 26, 2000 recounted the suggestion of Arne Eggum,
director of the Munch Museum in Oslo that it is to this graphic that Zapolska’s description
refers; cf. correspondence in the author’s archive.
33 Many graphic and painting versions of Scream are known; cf. for example Eggum, op. cit.,
pp. 221-136.
36 For example in Życie, 2, 1898, 50, in the advertisement and announcement section the
following information was placed: “Our editorial Staff decided to reproduce on thick paper
four plates by Munch: ‘Symbol’, ‘Vampyre’, ‘Self-portrait’ and Vigeland’s ‘Young Couple’. Ali
four graphics are for sale in the office of Życie for 1 zloty each”. Cf. also footnote 29.
3/ Cf. footnote 25.
38 Doom, Dunikowski Museum, inv. no. MKr 432, 1904, plaster, 174.5 x 98 x 95.5 cm; also
Doom, Wawel, inv. no. 7605, 1904, plaster, 177 x 98 x 97 cm.
137
in one.
The same motif of a pessimistic vision of the early stage of life can be
found in Dunikowskie sculptures: Breath /, both versions of Eve I as well as
in Tbought, known from Kleczyński’s description, where an embryo was
supposed to rest on an open hand.” There is a strong resemblance between
this motif in Breath I and the element placed in the left Iow corner of the
rim in Munch’s famous graphic Madonna, many versions of which are
known (ill. 7). In the Przybyszewskis’ salon Zapolska probably saw a changed
version of Madonna, rendered in the etching techniąue (ill. 8).'4 In the left
fragment of the graphic two embryos with huge heads and spindly legs
appear, very much like the one held by the bald demiurge in Dunikowskie
composition. The demiurge itself, with egg-shaped scull, hollow eyes and
pronounced cheek-bones reminds one of the phantom-like creature from
Munche Screamd3 The sculptor must have known these famous graphics
which Przybyszewski reproduced in Zycie and a photo of the lithography,
known today as Madonna, that he even put out for sale under the name
of Symbol.2,6
One may pose a previously unasked ąuestion whether Munche works
from the Przybyszewskie collection (both original and in reproductions)
constituted a creative impulse for Dunikowskie artistic search. The embryo
found in Breath I and other sculptures suggests Dunikowskie interest in the
Norwegian artiste work. However, contrary to the obvious influence of
Munche works on young Weiss, in this case it is impossible to give a definite
answerd Thus it seems worthwhile to hint at a broader ąuestion: what
impulses influenced young Dunikowskie imagination? What intellectual
stimuli madę him embark upon a radical ąuest for new forms-symbols
which resulted in such works as Breath I, Doom 38 or Eve /? The sculptor began
his activity in an unusual period in Polish art when intense transformations
in culture and art took place. The turn of the 19th century was a period
of strengthening demands for autonomy of literaturę and fine arts with
Przybyszewskie manifestos among them. According to him, art should depart
from its mimetic functions and fathom new, unexplored areas of consciousness.
33 J. Kleczyński, “Z Salonu Krywulta. Ksawery Dunikowski”, Kurier Codzienny, 41, 1905, 22, p. 2.
34 Sissel Biórnstad in her letter to me of April 26, 2000 recounted the suggestion of Arne Eggum,
director of the Munch Museum in Oslo that it is to this graphic that Zapolska’s description
refers; cf. correspondence in the author’s archive.
33 Many graphic and painting versions of Scream are known; cf. for example Eggum, op. cit.,
pp. 221-136.
36 For example in Życie, 2, 1898, 50, in the advertisement and announcement section the
following information was placed: “Our editorial Staff decided to reproduce on thick paper
four plates by Munch: ‘Symbol’, ‘Vampyre’, ‘Self-portrait’ and Vigeland’s ‘Young Couple’. Ali
four graphics are for sale in the office of Życie for 1 zloty each”. Cf. also footnote 29.
3/ Cf. footnote 25.
38 Doom, Dunikowski Museum, inv. no. MKr 432, 1904, plaster, 174.5 x 98 x 95.5 cm; also
Doom, Wawel, inv. no. 7605, 1904, plaster, 177 x 98 x 97 cm.
137