Marian Siwek
| Marian Siwek | |
|---|---|
| Born | |
| 💀Died | Kraków |
| 🎓 Alma mater | Akademia Sztuk Pięknych w Krakowie |
| 💼 Occupation | |
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Marian Siwek (born in 1936 in Niepołomice, died on 17th May 2007 in Kraków) – Polish painter and draftsman.
Life
He spent his youth in Kraków. After completing the High School of Fine Arts, he graduated from the Faculty of Painting at the Jan Matejko Academy of Fine Arts. His supervisors were Jerzy Fedkowicz and Emil Krcha. Siwek is an artist from the generation of Stanisław Wójtowicz and Jerzy Panek. In the early 1970s his studio in Krakow burned down and the fire consumed almost all of his work. An artist-outsider, who opposed the political regime of Poland. For this reason, his works were not exhibited by the national institutions and museum collections. He organized vernissages and meetings for friends at his home. He became present in the consciousness of viewers only in the early 1990s, discovered and appreciated by art connoisseurs. In 2000 he fell ill with Alzheimer’s disease, yet despite the illness, did not cease artistic activity[1]. His latest works served as scientific and research material for Jerzy Vetulani. His daughter is Iwona Siwek-Front, a Krakow artist. Laid to rest at the Podgórze Cemetery in Kraków.
Artistic output
He is the author of portraits of Jerzy Panek, Ida Haendel[2], Tadeusz Kantor or Jonasz Stern. He made the world’s only drawn documentary entitled Straceńcy [The Doomed] (1981/1982) illustrating the massacre of miners in the Wujek coal mine (1981). The most important cycles of his drawings are the following: Bloody Spring in December (1971), TV sketches (1980/1981), Panic Theatre (1980s), Walking the Streets of Krakow (1990s to 2005), Karolina’s Death (1998–2000), Weirdos (2005/2006), Horses (1965–2005), Family Scenes (1970–2003) and Maria Magdalena (1998). His drawings deal with social and political issues.
The artist’s works have been exhibited in the Podbrzezie Gallery in Kraków, the Historical Museum of the City of Krakow (Town Hall Tower, Hippolyte Tenement House), the Palace of Art and the National Museum. The series of drawings called Straceńcy [The Doomed] is displayed in multimedia form at the European Solidarity Centre in Gdańsk. In 2015 the Krakow Society of Friends of Fine Arts organized the artist’s posthumous exhibition entitled “... to właśnie człowiek” [“Faces of man”] [3][4][5][6], commemorating the 34th anniversary of introducing the martial law in Poland.
„A real artist – a man who was not in line with any authority or idea, nor even with himself. Art was the only way in which he could express himself and capture the meaning of existence (…). Marian Siwek drew things as they are. It is a greedy record of everyday life, of this land, his father’s house, his mother’s house and the bar. He shifted from the elements of comic book towards painting and back. He used pencils, paints, involvement in current affairs as well as subtle metaphors and lyrics. He drew and painted mainly the rejected ones, the ones who would be rejected even today. Without concealment, or beautification, he was able to bring out humanity even in places where we hold our noses and where the triviality of existence makes us sick (...).” – Mateusz Moczulski, fragments of the text for the exhibition “Faces of man” (2015) – Miłosz Horodyski, fragments of the text for the exhibition “Faces of man” (2015)
With a reporter’s passion, I was discovering – sheet by sheet – carton boards covered with a dense patch of ink, here and there crossed by nervous lines strongly marking the trace of the tool, yet each time forming a dynamic composition. The power of expression of these notes from the land of absurdity, increasingly distant on the map of the historical archipelago of awkwardness and degeneration is still poignant today. Just as poignant as is the figure of an artist confined within the four walls of his studio, sentenced to non-existence by the dignitaries of the Socialist People’s homeland. Lonely and isolated, in his drawings he exposed bare emotions, almost shouting his comments on the world that marginalized him. The artist chose to emigrate internally, but it was the environment of art where he found the free world, so distant from the land of lies... and consistently, day after day, month after month, year after year, he drew (...). – Miłosz Horodyski, fragments of the text for the exhibition “Faces of man” (2015)”
References
- ↑ "Talent bez uszczerbku". dziennikpolski24.pl (in polski). Retrieved 2017-03-12.
- ↑ Elżbieta Binswanger. "Sofijon" (in polski). Retrieved 2017-03-12.
- ↑ "Wystawa rysunku Mariana Siwka".
- ↑ "Stan wojenny na obrazach Mariana Siwka w Pałacu Sztuki – Kultura – Radio Kraków". www.radiokrakow.pl (in polski). Retrieved 2017-03-12.
- ↑ Jolanta Drużyńska. "Powroty z niepamięci – Koło kultury – Dokument historyczny – Audycje – Radio Kraków". www.radiokrakow.pl (in polski). Retrieved 2017-03-12.
- ↑ Anita Bugajska. "To właśnie człowiek | Polska Ma Sens". polskamasens.pl (in polski). Archived from the original on 2017-03-13. Retrieved 2017-03-12.
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