Zdzisław Beksiński - AA78

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 "AA78"  oil painting on canvas Zdzisław Beksiński, 1978
Literal: Cosmic room.  Inter-dimensional.  A gothic? structure melded with red foliage that seems both fungus & plant with skeletal undertones where it houses a capacious sky blue interior.  Inside the building l.

『 Beksiński oft said any specific interpretation of work is meaningless & baseless as they can be so fantastical & surreal in nature.  So to make rational deconstruction of it to while worthwhile in the right oi the beholder to evolve their appreciaiton of art largely baseless in finding a hidden 'true' meaning.    A nexus between words.  Beksinski refused to assign specific meanings to individual paintings. He felt that he was capturing a certain atmosphere or mood, and often claimed that his works were optimistic or even humorous Still, it isn't difficult to spot the Holocaust horror and the agonies of war in many pieces – not surprising for an artist who came of age in Poland in the midst of World War II.   with skeletal- largely alien in appearance to anything Earthly.   combine despair, horror and decay with beauty and awe  One can interpret Beksiński had no formal training as an artist.  』

a piece from his fantastic realism era

『 Beksiński entered what he himself called his "fantastic period", which lasted up to the mid-1980s. This is his best-known period, during which he created very disturbing images, showing a surrealistic, post-apocalyptic environment with very detailed scenes of death, decay, landscapes filled with skeletons, deformed figures and deserts. These paintings were quite detailed, painted with his trademark precision. 』

At the time, Beksiński claimed, "I wish to paint in such a manner as if I were photographing dreams".  That surreal an innate differing underlying mechanism at which the world functioned by that dreams follow.  Thiis piece compared to many others made in the same period is much less dark dystopian world &a more intune with the fantastical wonder that Beksiński generally said his work to portray : A utopian realism.

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break this down:

Despite the grim overtones, Beksiński claimed some of his works were misunderstood; in his opinion, they display a fashion of optimism or humour. For the most part, though, Beksiński was adamant that even he did not know the meaning of his artworks and was uninterested in possible interpretations; in keeping with this, he refused to provide titles for any of his drawings or paintings.

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Perhaps he felt that his work was miscommunicated/misunderstood by viewers.  This post it's draft not since opened last since Friday, March 25.  Could be a meta response or self actualizing expression of an interpretation of Beksiński.  Copy now that was done with zest at their conception but a crypt fashioned with decrepit old thoughts of a yester consciousness.  

In a town 20km east of Warsaw, an acquaintance of Beksiński went to meet Beksiński which unfortunately occurred to be fatal.  In a homicide, Beksiński was stabbed to death in his apartment in Warsaw in February of 2005 by a 19-year-old acquaintance from Wołomin . The conflict stemmed from that he had refused to lend money to the teenager and then threatened him further. The adolescent's resposne was 17 stab wounds on his body; however only two of the wounds were determined to have been fatal.  

『 Beksiński was a prolific artist both in the quality of imagination and technical display and of the sheer quantity of his work. 』

For a cosntructed intimate look of the later days of the artist's life; Director Jan P. Matuszyński’s debut feature is a focus on the relationship between the painter Zdzisław Beksiński and his son Tomasz Beksiński. The movie was released on September 30th of this past year.

The film stars,

Andrzej Seweryn as Zdzislaw Beksiński

Dawid Ogrodnik as Tomasz Beksiński, the son of Zdzislaw

Aleksandra Konieczna, as Zofia Beksiński, the wife of Zdzislaw

Polish Wikipedia Link of the Film
IMDb Page of the Film