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Kolejka i Matka Polka. O dwóch realizacjach Zbyluta Grzywacza.

100%
Maksymczak M.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2010
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issue 2(16)
66-76
EN
In 1982 Zbylut Grzywacz, as a member of an artistic group ‘Wprost’, made a project of a drawing of Monument of a Polish Mother. The artist presented the Polish Mother as an elderly woman exhausted by committing trivial and everyday’s activities. At the same time Grzywacz was working on an oil painting – a triptych titled A queue. Seven stages of a woman’s life, which he ironically called The Monument of a Polish Mother, as well. The work shows six naked women silhouettes and a baby. Each of the women holds a carrier bag in her hands. The silhouettes look like they are moving and going forward from the left to the right side. The painting depicts a human getting old as the artist says that it has come into being because of ‘his own feeling of the passing time’. On one hand, the work as the title suggests: The Queue, as well as the fact of giving it an ironical name: The monument of a Polish Mother, presents a difficult situation of a woman, or to be more general, a human living in a totalitarian country what was present in the twentieth century history of Polish country. On the other hand, the second part of the painting’s title, namely, Seven stages of a woman’s life implies that the work may be connected with universal problems of people’s lives. The aim of my paper is to point out that the work deals with a topic which is far from historic dimension, what has been showed by the means of a visual metaphor. In contrary to the above mentioned project of the drawing we will not find any national symbols in it. Although, the painting’s title describes the queues which were common in the Communist Poland, the work gives a rather general answer, which is void of presenting a certain place or some particular events. Such an artistic trick may be treated as the example of painting presenting reality more significantly. The painter’s metaphor used here, depicts the secret of human existence.
2
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Dwa twierdzenia. Studium porównawcze.

63%
Michalski J.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2009
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issue 4(14)
91-103
EN
The contents of the article is a comparison of two important in the post-war Polish art pictures: ‘The Queue Goes On’ of 1956 by Andrzej Wróblewski (1927-1957) and its travesty – ‘The Queue Still Goes On’ (for Andrzej Wróblewki) of 1973 by Zbylut Grzywacz (1939-2004). Both works had political meaning – read usually as existential metaphors of communist system. Wróblewski’s painting was read in the spirit of marxist revisionism of the ‘Thaw’ period, Grzywacz’s painting in the spirit of democratic rhetoric used by the opposition fighting for ‘human rights’ in the 1970s. The author compares both pictures, together with the expressions assumed as their titles, and exams the relations between them. Art history methods play an additional role as the actual aim of consideration is showing the deeper, spiritual ground of relations of both artists. It is a task for hermeneutics, which is described by the author as a gift of reading signs and following these signs as far as possible. ‘Each repeti- tion is equally primary as the work itself’ these words by Hans-Georg Gadamer are a compositional frame for the essay and an interpretation directive. How did Grzywacz ‘repeat’ Wróblewski’s painting? The author is looking for an answer on a few interpretation planes. Wróblewski’s art was rich in symbols of metamorphosis – it was permeated by the typical for European post-war art stream of cosmic vitalism and biological regeneration, appearing in visual metaphors of ‘a life chain’ among others. Examining reflections of this stream in Grzywacz’s art reveals its traces not in the area of moralistics and history, but in science. Both painters were agnostics, with Grzywacz being a naturalist – he was an active collector in the field of geology and entomology. Symbols of metamorphosis, which were unusually seldom in his painting, were connected with these sciences – the artist’s life passions – what is proved in his picture ‘Chrysalis’ painted during his terminal illness.
3

What the Polish Mother Does Not Say. Zbylut Grzywacz Against the Myth

38%
Kudelska D.
Roczniki Humanistyczne
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2019
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vol. 67
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issue 4: Historia sztuki - Selected Papers in English
103-123
EN
The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014). The article presents the art of Zbylut Grzywacz in the context of his post-mortem exhibition in the Kraków National Museum in 2009. The subjects of the analysis are his paintings from the 1970s and 1980s, presenting women through a simple rough treatment of human body form, without an academic idealization. The destruction of the form conforms to the deconstruction of the myth of a Polish Mother. It is due to the change of a social position of the figures whom Grzywacz gives the roles of guardians of tradition, as well as due to their mental and moral degradation. The artist uses an irony in showing his knowledge of the tradition of showing a human body in an academic nude (what he denies), in a Flemish art of showing torn animal meat (with the Rembrandt’s reflection) and Holbein’s tradition of the post-mortem decay (The Body of the Dead Christ in the Tomb). One of the main themes in Grzywacz’s paintings is the loneliness, especially distinct in a representation of symbolically naked persons among insensible pedestrians. The Polish Mother—here she doesn’t belong to any society. The explicitness and the picturesque materiality covers a certain “crack” in the world presented inside the hard-to-comprehend present-day multitude of Grzywacz’s paintings. Behind the cover of the foreground tale, as one could think on the basis of the sketchbooks, there is a kind of an “unpresented world”, in which the author incessantly tells us about the pain of his existence with no anaesthetization by grotesque.
4

O czym nie mówi Matka Polka. Zbylut Grzywacz kontra mit

36%
Kudelska D.
Roczniki Humanistyczne
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2014
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vol. 62
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issue 4: Historia Sztuki
147-167
EN
The article presents the art of Zbylut Grzywacz in the context of his post-mortem exhibition in the Cracow National Museum in 2009. The subjects of the analysis are his paintings from the years 70’s and 80’s of the 20th century, presenting women through a simple rough treatment of human body form, without an academic idealization. The destruction of the form conforms to the deconstruction of the myth of a Polish Mother. It is due to the change of a social position of the heroines, who are given by Grzywacz the roles of the guardians of tradition, as well as to their mental and moral degradation. The artist uses an irony in showing his knowledge of the tradition of showing a human body in an academic nude (what he denies), in a Flemish art of showing torn animal meat (with the Rembrand’s reflection) and the Holbeinish tradition of the post-mortem decay (Christ in His Grave). One of the main themes in Grzywacz’s paintings is the loneliness, specially distinct in a representation of symbolically naked persons among insensible pedestrians. The Polish Mother – here doesn’t belong to any society. The explicitness and the picturesque materiality covers a certain “crack” in the world presented inside the hard to comprehend nowadays multitude of Grzywacz’s paintings. Behind the cover of the foreground tale, as one could think on the basis of the sketchbooks, there is a kind of an “unpresented world”, in which the author incessantly tells us about the pain of his existence with no anaesthetization by grotesque.
PL
Artykuł prezentuje twórczość Zbyluta Grzywacza w kontekście dużej pośmiertnej wystawy jego dzieł w Muzeum narodowym w Krakowie w 2009 r. Przedmiotem analizy są obrazy z lat 70. i 80. XX w. przedstawiające kobiety przez brutalnie szczere traktowanie materii ciał, bez akademickiej idealizacji. Destrukcji formy odpowiada dekonstrukcja mitu Matki Polki. Dzieje się to zarówno przez zmianę pozycji społecznej bohaterek, którym Grzywacz powierza rolę strażniczek tradycji jak i przez ich ograniczenia mentalne oraz moralną degradację. Malarz posługuję się ironią, grającą znajomością tradycji pokazywania ciała w akcie akademickim (co neguje), we flamandzkiej sztuce przedstawiania rozpłatanego mięsa zwierząt (wraz z refleksją Rembrandta ) oraz holbeinowskiej tradycji pośmiertnego rozkładu (Chrystus w Grobie). Jednym z głównych motywów obrazów Grzywacza jest samotność, szczególnie wyrazista w przedstawieniach symbolicznie nagich postaci wśród obojętnych ulicznych przechodniów. Matka Polka - tu nie należy do żadnej wspólnoty. Dosadność i obrazowa materialność przykrywa jakieś „pęknięcie” w świecie przedstawionym, wewnątrz trudnej dziś do ogarnięcia mnogości obrazów Grzywacza. Za tą tarczą pierwszoplanowej opowieści, jak można sądzić ze szkicowników znajduje się jeszcze jakiś „świat nieprzedstawiony”, świat, w którym autor nieustannie opowiada nam o swoim bólu istnienia bez znieczulenia groteską.
5
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Zbylut Grzywacz. Sceny z KORridy

32%
Cembrzyńska P.
Polska 1944/45-1989. Studia i Materiały
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2023
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issue 20
175-200
EN
The article discusses the iconographic and ideological message of Zbylut Grzywacz’s paintings from the Beef Cycle, painted in the second half of the 1970s. The series is shown in the context of the supply problems in the Polish People’s Republic, the events of June ‘76 and the post-Yalta order of Europe. The question of the rudiments of actual historical events presented in Grzywacz’s work is combined with inquiries into the role of the painter’s dialogue with the traditions of art and tauromachy.
PL
Artykuł omawia ikonograficzny i ideowy przekaz malowanych w drugiej połowie lat siedemdziesiątych ubiegłego wieku obrazów z cyklu Wołowy Zbyluta Grzywacza. Serię pokazano w kontekście peerelowskich problemów aprowizacyjnych, wydarzeń Czerwca ’76 oraz pojałtańskiego porządku podziału Europy. Zagadnienie zawartych w dziele Grzywacza rudymentów rzeczywistych wydarzeń historycznych łączy się z dociekaniami dotyczącymi roli dialogu malarza z tradycją sztuki oraz tradycją tauromachii.
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