DOI Artikel:
Turowicz, Joanna: Eve by Xawery Dunikowski: Modernist Transformation of the Biblical Type
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18949#0143
10. Xawery Dunikowski,
Yoke, 1902,
lost sculpture
(Phot. ofter
Sztuka i Krytyka, 1956,
3-4, p. 256, ill. 4)
by soft moulding and departure from veristically rendered detail in favour
of a deepened psychological analysis of the model. This softness of moulding,
abundant in chiaroscuro nuances points to immediate influence of Rodin
whose follower was Konstanty Laszczka, Dunikowski’s professor at the
Academy of Fine Arts in Cracow.43 Some analogies with Vigeland’s works
are also visible, particularly in Dunikowskie early sculptures, exhibited for
the first time in 1902 in the Pałace of Art in Cracow.44 45 The most telling
example of reference to the Norwegian sculptor’s work is Antbropos by
Dunikowski (in the second version entitled Man and Woman a femal figurę
was added, ill. 9). This figurę reminds of Vigeland’s Satan, which, reproduced
in Zycie, gave rise to a scandal; all copies of this issue were confiscated.
Antbropos, Man and Woman, Yoke (ill. 10) or Yoke of Life (ill. II)4' remind
one also of other Vigeland’s sculptures of ascetic, slender men lost in thought,
with faces madę all the morę sharp by short hair or bald sculls. Among the
43 According to Dąbrowska-Szelągowska, it was mainly thanks to Laszczka that Rodin’s
influence on Polish art was lasting and inspiring; cf. Dąbrowska-Szelągowska, op. cit.,
pp. 362-363.
44 In May 1902 an exhibition of several Dunikowski’s sculptures took place in Cracow;
cf. Czas, 1902, 106, p. 2. The only article referring to this exhibition lists the sculptures:
Antbropos, Woman and Man, Prometheus, Yoke (Antropos, Kobieta i mężczyzna, Prometeusz,
Jarzmo) and some portraits; cf. C. Tellenta, “Rzeźbiarz Dunikowski”, Ateneum, 1, 1903, 1,
pp.107-109.
45 Yoke of Life, 1903, the sculpture was not preserved. In 1935-40 it was in the collection of
the Bartoszewicz City Museum of History and Art in Łódź and was destroyed by the Nazis as
an example of Entartete Kunst-, cf D. Kaczmarzyk, Straty wojenne Polski w dziedzinie rzeźby,
Warsaw 1958, p. 148, item 78.
141
Yoke, 1902,
lost sculpture
(Phot. ofter
Sztuka i Krytyka, 1956,
3-4, p. 256, ill. 4)
by soft moulding and departure from veristically rendered detail in favour
of a deepened psychological analysis of the model. This softness of moulding,
abundant in chiaroscuro nuances points to immediate influence of Rodin
whose follower was Konstanty Laszczka, Dunikowski’s professor at the
Academy of Fine Arts in Cracow.43 Some analogies with Vigeland’s works
are also visible, particularly in Dunikowskie early sculptures, exhibited for
the first time in 1902 in the Pałace of Art in Cracow.44 45 The most telling
example of reference to the Norwegian sculptor’s work is Antbropos by
Dunikowski (in the second version entitled Man and Woman a femal figurę
was added, ill. 9). This figurę reminds of Vigeland’s Satan, which, reproduced
in Zycie, gave rise to a scandal; all copies of this issue were confiscated.
Antbropos, Man and Woman, Yoke (ill. 10) or Yoke of Life (ill. II)4' remind
one also of other Vigeland’s sculptures of ascetic, slender men lost in thought,
with faces madę all the morę sharp by short hair or bald sculls. Among the
43 According to Dąbrowska-Szelągowska, it was mainly thanks to Laszczka that Rodin’s
influence on Polish art was lasting and inspiring; cf. Dąbrowska-Szelągowska, op. cit.,
pp. 362-363.
44 In May 1902 an exhibition of several Dunikowski’s sculptures took place in Cracow;
cf. Czas, 1902, 106, p. 2. The only article referring to this exhibition lists the sculptures:
Antbropos, Woman and Man, Prometheus, Yoke (Antropos, Kobieta i mężczyzna, Prometeusz,
Jarzmo) and some portraits; cf. C. Tellenta, “Rzeźbiarz Dunikowski”, Ateneum, 1, 1903, 1,
pp.107-109.
45 Yoke of Life, 1903, the sculpture was not preserved. In 1935-40 it was in the collection of
the Bartoszewicz City Museum of History and Art in Łódź and was destroyed by the Nazis as
an example of Entartete Kunst-, cf D. Kaczmarzyk, Straty wojenne Polski w dziedzinie rzeźby,
Warsaw 1958, p. 148, item 78.
141