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#0144
11. fawory Dunikowski,
Me oflife, 1903,
lost sculpture
(Phof. Archiwum Muzeum Sztuki
w Lodzi)
-ri
sculptures by the Norwegian artist that Dunikowski could have been
familiar with one may recountMzm in Doubt (ill. 12) from 1894.46 47 Although
no reproduction of this sculpture was published in Zycie, Przybyszewski
described it in his favourite misogynous fashion: “A fallen woman and
a tormented man at the end of his tether are in fact the basie theme of all
‘erotic’ works of Vigeland but no sculpture has morę powerful effect than
Man in Doubt.”4/ One may also point to some affinity between the artistic
search of Dunikowski and Bolesław Biegas, his colleague from the Academy of
Fine Arts in Cracow, whose Book of Life, Secret or World are also independent
from the natural patterns.48 Comparing Doom, Breath I with the above-
-mentioned Biegas’ sculptures one notes similar synthetic treatment of
form: the figures are usually of slender proportions, the sculls are bald and
the faces with simplified features have long, narrow noses and srrfall mouths.
It is certain that Munch’s work influenced to some degree Dunikowskie, and
maybe also Biegas’ search for synthetic style. The form of such sculptures like
46 Man in Doubt, Oslo, Vigeland-museet, 1894, bronze, 28.5 x 38.2 x 23.3 cm.
47 S. Przybyszewski, “Na drogach duszy. Gustaw Vigeland”, Zycie, 2, 1898, 49, p. 650.
48 World (Świat), Dunikowski Museum, 1902, bronze, 87 x 28 x 22 cm; Secret (Zagadka),
1902, Polish Historical-Literary Society, Paris, plaster, 46 x 42 x 10 cm; Book of Life (Księga
życia), Dunikowski Museum, 1901, plaster, 163 x 73 x 60.5 cm. In the beginning of the
20th century the work of B. Biegas (1877-1954) was highly praised by the Parisian circle focused
around periodical La Plume. The artist, forgotten for many years, was rediscovered by
X. Deryng who found some vanguard traces in his sculptures; cf.: Boleslas Biegas. Sculpture-
142
Me oflife, 1903,
lost sculpture
(Phof. Archiwum Muzeum Sztuki
w Lodzi)
-ri
sculptures by the Norwegian artist that Dunikowski could have been
familiar with one may recountMzm in Doubt (ill. 12) from 1894.46 47 Although
no reproduction of this sculpture was published in Zycie, Przybyszewski
described it in his favourite misogynous fashion: “A fallen woman and
a tormented man at the end of his tether are in fact the basie theme of all
‘erotic’ works of Vigeland but no sculpture has morę powerful effect than
Man in Doubt.”4/ One may also point to some affinity between the artistic
search of Dunikowski and Bolesław Biegas, his colleague from the Academy of
Fine Arts in Cracow, whose Book of Life, Secret or World are also independent
from the natural patterns.48 Comparing Doom, Breath I with the above-
-mentioned Biegas’ sculptures one notes similar synthetic treatment of
form: the figures are usually of slender proportions, the sculls are bald and
the faces with simplified features have long, narrow noses and srrfall mouths.
It is certain that Munch’s work influenced to some degree Dunikowskie, and
maybe also Biegas’ search for synthetic style. The form of such sculptures like
46 Man in Doubt, Oslo, Vigeland-museet, 1894, bronze, 28.5 x 38.2 x 23.3 cm.
47 S. Przybyszewski, “Na drogach duszy. Gustaw Vigeland”, Zycie, 2, 1898, 49, p. 650.
48 World (Świat), Dunikowski Museum, 1902, bronze, 87 x 28 x 22 cm; Secret (Zagadka),
1902, Polish Historical-Literary Society, Paris, plaster, 46 x 42 x 10 cm; Book of Life (Księga
życia), Dunikowski Museum, 1901, plaster, 163 x 73 x 60.5 cm. In the beginning of the
20th century the work of B. Biegas (1877-1954) was highly praised by the Parisian circle focused
around periodical La Plume. The artist, forgotten for many years, was rediscovered by
X. Deryng who found some vanguard traces in his sculptures; cf.: Boleslas Biegas. Sculpture-
142