
Zdzisław Beksiński was a Polish artist who was born in 1929 and died in 2005 and left a lasting impression in contemporary surrealism. Growing up in the midst of World War II and the German occupation of Poland doubtless influenced how he viewed the world; many of his works illustrate a fascination with barren landscapes and post-apocalyptic scenery. However, Beksiński did not get his start in the art world until the late 1950’s.
Born in a small town in Poland, he studied commerce in secondary school. In 1947, after Poland’s liberation from Germany and under pressure from his father, who was a surveyor, he entered the Faculty of Architecture of the Cracow University of Technology. Although Besiński had dreamed of attending film school, his father convinced him that construction was the most practical path in war-devastated Poland. After earning his degree in 1952 he began working as a supervisor on construction sites but was never happy with his career; in the following years he started to dabble in the arts as a hobby. Seeing an art as a way to potentially exit his construction job and live out his dreams of being involved in visual arts, he applied himself more seriously to developing a body of work in the late 1950’s.
His earliest works were concentrated in photography and abstract plastic sculpture; in 1958 he began to show his work in exhibitions across Europe. Much of his photography depicted recurring themes that would appear in his later paintings: a fascination with texture, landscapes, wrinkled faces, and disturbing images like portraits where the face was obscured or hidden; his sculptures also displayed clues into a style that would eventually evolve into fantastic surrealism and expressionism.
In the 1960’s, feeling technical limitations in photography, he began to experiment with painting, and it was this body of work that brought him his first successes within the art world. With no formal training, his first images were abstract and gradually developed a more surrealistic tone.
Beksiński’s paintings are often classified into two periods: a “fantastic realism” period and a period in his later years that returned to abstraction. His style was consistent through both of the periods, however: dominated by surrealistic fantasy and dream-like imagery, and executed with minute precision. He completed his paintings in oils on hardboard, painting meticulously so that no brushstrokes were visible. He also made many meticulous pencil drawings throughout his artistic career. Beksiński’ described his own work as either “baroque” or “gothic”, depending on the subject matter; the first was dominated by representation, and the latter by form. As his career progressed, the gothic form-dominated images became more and more frequent, but it was his baroque “fantastic realism” style that first garnered him attention in the art world.

His first major exhibition of his fantastic realism works took place in the Stara Pomaranczarnia in Warsaw in 1964, where all the pieces shown were sold. Within a decade he was hailed as the best painter in Poland. During this period his work often depicted surreal, post-apocalyptic scenes: deserts, deformities, death, skeletons and emaciated figures, all painted in lush, subdued colors with carefully rendered textural details that emphasized their dreamlike quality. The tone of his work may well have been influenced by the fact that he grew up in Poland during the German occupation of World War II; the rubble of bombed buildings were a part of his daily landscape.
Beksiński described his work as photographs of dreams and the subconscious, but interestingly he always insisted that his work was misinterpreted as being grim. He saw his images as lighthearted and sometimes even humorous, though he also stated that he did not know the exact meaning of his work. He would stubbornly refuse to apply any ideology or meaning to his images, and shunned critics who attempted to decipher his work. None of his work had titles and was signed on the back. Instead of expressing a message within his work, the only thing that mattered to him was the way an image would be painted. The process itself of laboring over texture and form is what drove him to create his imagery. However, the loaded iconography of his work makes it difficult for even the causal viewer to try to discern intent.
Beksiński himself was a charismatic but extremely secluded man; he rarely appeared in public and refused to allow anyone watch him work in his studio, where he would spend twelve hours a day working to classical music. The only point where his creative process was documented was when he allowed a camera to be set up in his studio to capture him working. The film showed that during the first week of his process, everything on the hardboard was vague until one day it would suddenly take form as he executed what would appear to be the most tedious and laborious portions of the painting within the space of a day.
He never attending his own exhibitions and the more popularity his work garnered, the more he shunned his celebrity, eventually moving out of his hometown of Sanok to live in Warsaw in 1977, where he hoped to mingle anonymously within the crowd of the city. By this point in his life, he only gave one or two interviews a year and would never speak about personal or current events. He also refused to accept awards and medals.
Artistically, he felt out of place in contemporary society where tradition was shunned in the art world. Instead, he felt close affiliation with 19th century painter, writers, and musicians such as Klimt, Turner, Bocklin, and Friedrich. But in both technique and subjects, he drew from no outside influences, only his own subconscious; the images made themselves without paying heed to the traditional role of the painting. His work spoke to the a public interested and absorbed in psychoanalysis and existentialism.
In 1977, Beksiński destroyed a portion of undocumented work in his backyard. Through his own account, these works were expressionistic in nature and recalled the styles of Polish artists Cwenarski and Wróblewski. During this period he worked quickly and large, sometimes completing up top five paintings in a day, refusing to polish anything to be critical of what he was producing. In an interview he said, “I think that was the only time I was really sincere. Or maybe just naive?” But no record exists of what his work looked like during this period; perhaps the very reason Beksiński destroyed it was because he felt it was too naïve and clumsy, too much of a departure from the tightly controlled style of his other work.

However, as Besiński’s life progressed, his work did become noticeable less controlled, complementing his departure from complicated and detailed subject matter as he moved on to abstract form and simplistic, powerful compositions during the 1980’s. There was a distinct simplification of form and subject, and a more subdued and monochromatic approach to color during this period. He focused on disquieting buildings, monumental structures on barren backgrounds, and surreal silhouettes that are suggest form but evade identification. Despite the abstraction, he continued to focus on realistic perspective and lighting, which grounded the images into surreal alternate reality.
In 1997, with computer art beginning to emerge, he started experimenting with photographic composites and digital montages, a medium he concentrated on until 2005 when he was murdered in his apartment by the son of his landlord after he refused to lend the boy money.
Beksiński’s legacy is one of a unique artist of his time: an artist who loaded his images with scenes from nightmares and horrific distortions, yet stubbornly insisted they bore no meaning, who worked in a period where the concept of art was seen to transcend the technical execution. But to him, the execution was all there was: the laborious, meditative act of simply creating. His process became an autobiography of sorts, in which he created for the sake of creating without allowing himself to be influenced by the expectations of the art world…and in the process of refusing to name his intent, he allowed his audience to immerse themselves in his work and create meaning themselves.