The Nightmare Artist - Beck Schinsky

This is a photograph of Ziggy Soft Beck Schinsky over the course of a 50-year career in art, he would materialize dreams and

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s on canvas and celluloid, provide a global look at Polish art, and help define the modern heavy metal aesthetic born in 1929. His birthplace, Sanok, had one of the largest populations of Jews in all of Poland in the run-up to World War II, approximately 30 percent of the city, and in 1940 the Slavic Zoological Concentration Camp was created just Beck Schinsky would begin to photograph the world he saw around him during the Soviet occupation of his country and it is undeniable that the horrors he experienced throughout his adolescence would play more into play. later played a huge role in the mentality of his works that he would continue to create, although he had no formal training in art, in 1955 he would study architecture and develop drawing skills through that which would later help him in more ways than one because in addition to training his Hand would also learn the history and symbolism of architecture which would allow him to make social commentary through his paintings.

After finishing his education, he would return home to Sonic and design buses for a construction company called Auto Song, but during this time he would continue to experiment more with His photography incorporated objects he found at the construction site into the photographs he took and decided, As a side project to his career, he would become a part-time photographer and it was here, in 1957, that Beck Schinsky immediately revolutionized the art world with In his early photographic works, the philosophical idea behind photography at the time was from direct photography or pure photography and

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s such as Paul Strand Edward Weston and Ansel Adams in which the goal of the photographer was to use the camera to create the most sharpened image possible of the subject using light to demonstrate all the natural textures available .

This style was born from the rejection of pictorialism, which was the reigning style of fine art photography in the early hours of the night, in which the photographer attempted to capture life in a confusing and dark way. Similar to that of the Impressionist painters, pair photography opposed this false staged idea of ​​life that the Pictorialist created within his work and sought to present objects as they really were rather than how a romantic would see them, and thus It was like when Beck Schinsky revealed his sadistic photograph. corset in 1957 there was an immediate reaction to the stylized nature of it which rejected the traditional nude facing the figure away from the camera, cropping out the head and legs and a very unsexual rigid standing position.

Photography critic Alfred Legault Key publicly criticized the photograph saying that surrealist photography should not be recognized due to its direct interference with the photographed subject by the photographer who did not adequately represent the subject since he actually claimed that motorcycle work skiing was anti photography Beck Schinsky later responded to this publicly in a photography magazine with an article titled The Crisis of Photography and the Perspective to Overcome It saying that the ubiquitous style of pure photography did not allow for

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ic expression and that the medium should grant it that to an artist to make an artistic statement if the artist wants to do that and this philosophy is something that can be seen in all of his early photographic works: all subjects are manipulated, directed and posed in very specific ways and were always obscured somehow and with chairs out of focus in the foreground segments. the subject of satus corsa is shattered here the mirrors interrupt the natural symmetry of the body the subjects are cut out as silhouettes that are shown deliberately out of focus and the shadows make the faces ambiguous and confusing to view in the period at the beginning of the decade In 1960, although he was a renowned photographer, he stopped working in this medium completely and donated all of his photographs to the Sana Historical Museum, stating that he had nothing more to say through that art form and that it limited his imagination and, although Beck Schinsky today dedicates himself exclusively to his paintings, we can see here in his photographic works from the 1950s the formation of what would become his characteristic existential style from the early 1960s to the mid-1980s.

Beck Schinsky would enter the era of his career for which he would be best known. With the fantasy series that fused architecture, spiritualism, eroticism, war, and dream logic into a series of hellscape paintings, each work of art created by Beck Schinsky was untitled. He did not like the concept of titling art because of the possibility of creating a misinterpreted or perceived meaning. interpretation of the artist's work to the public he explained in a 2002 interview that in his opinion the interpretation is imposed by others who speak immodestly the paintings should be admired or admired without asking what it means if I had something to say I would write it down or say it, no I need paint for that, in fact he really didn't like the concept of interpreting the work at all and having one of the paintings stand on its own as a painting and even got angry at critics who tried. find a simple answer to what his work meant, also saying at one point that the meaning doesn't make sense to me.

I don't care about symbolism and I paint what I paint without meditating on a story, so I'm not going to try to do it. that here and offer a great thesis of what his work as a whole means. I think you are probably right in saying that your work is very diverse and that each individual painting is too complex for me or anyone else to do well, but despite your wishes, I will go so far as to say that there are common similarities and many works of his that make it difficult for me not to think about his life and the political climate in which he grew up when seeing his paintings from this time almost.

Each of the members of this ensemble feels like he is confronting something very personal that he must have seen or experienced in his youth, as he also explores concepts that obviously captivated and haunted him, so here I would like to take a time to discuss what I see as the most common themes within his work, his experiences growing up in World War II, obviously affected him deeply and is the most recurring theme I see in his paintings. Here an ugly red creature hides behind the façade of elegant Greco-Roman architecture. War helmets are an image that is constantly repeated, like here where individuals travel dragging a body behind them, burning buildings, destruction and chaos reign in their worlds and I think the color blue is significant in these scenes if not Do you know that the color Prussian blue is named after The prussic acid used to produce that color and paint is also known as hydrogen cyanide and although today the paint itself is not toxic despite being created with a form of cyanide, other products made from it, such as the pesticide Zyklon-B, used by the Germans and the gas chambers during World War II are extremely deadly and, in certain circumstances, depending on the levels of iron and pH, as well as humidity, leave a blue residue on surfaces that are in frequent contact with the chemically identical substance.

Regarding that painting, there are two paintings in particular that I believe Schinsky is referencing here, where a figure reminiscent of common depictions of death cloaked in Prussian blue watches as a train of carts covered in religious symbols carry away figures emaciated people who are crowded together. firmly, as well as here, where possibly the same figure looms over a child in a cradle while a man is eaten alive by birds behind him, the words in hoc Signo Vinces are carved into the wall - a Latin phrase meaning in This sign you will conquer is I also think it is relevant to note that this phrase was a common popular slogan used by the American Nazi Party: The human body is the subject of almost all of Beck Schinsky's works and, like most themes within his work, tend to blend into a common core of nihilism.

In my opinion their depiction of thin bodies is very much tied to war and they are also often depicted with religious symbols which in turn are also shown with war related destruction in a constant collision of recycling of conflicting ideas . He painted hundreds of images. in his life and for me, each of them are small individual pieces of a large Hobbesian statement about human nature. The bodies in Bet Shean Skis' paintings are never normal and are almost always mixed with something else that stretches and obscures the original form. Many bodies form a new one. the faces of creatures flourish in nature buildings are built from bodies no tree Dom is made of flesh numbers are tattooed are carved on people a man becomes a building and a torso becomes a chair, the latter possibly being a critique of the victims of the Germans become household objects like soap or lampshades.

Each person represented is a parody of life with the only common element being that they are always thinner than they should. A corpse plays the violin. A ruined dancer poses. The faces move from side to side. Until it can be argued that they are no longer faces at all, they are usually cut or segmented into pieces placed almost naturally and yet somehow completely unnatural at the same time, and the position of the bodies is also related to the idea of ​​crowds. Her work heavily criticizes the government officials and major religious figures around her, as well as the idea of ​​mob mentality, where those in large groups stare blankly ahead or gnash their teeth and become gleefully angry.

Here a large group probably represents death with helmets. the path to follow is a path and here a great head devours the masses and on the religious side a massive being hovers over the earth with the symbol of religion in his front pocket a cardinal appears with a sickly face and rotting tombs litter the courtyard of Notre Dom and many crosses arise from the destruction of the war, but there are so many paintings that do not have as open a meaning as possible behind them, that is why I say that it is difficult to group all his production into a defined thesis.

Just as it would be difficult to fit the entirety of a man's life into a single sentence, life is messy and just because he witnessed the horrors of human rights violations when he was young doesn't mean that's everything about him. when he was young. a person and there are many paintings like these that fill me with mystery and that is one of the things I appreciate most about him is that you can think that you have almost identified him as an artist and then you discover, for example, that he created a series of sadistic erotic drawings which surprise you because they are totally different from anything else he worked on in the 1990s, it's personally my least favorite era of Beck's since Keys Art, but I don't blame him for this like a lot of creatives do.

People at that time fell in love with the new possibilities that digital art offered and for a time returned to photography using new programs like Photoshop to manipulate their photographs and those taken by others to create new images from them, he said in this Once there is a certain mental refreshment in this work, the view from a totally different perspective than that of painting by playing with these programs I can create artificial reality at any angle and photograph it figuratively, which would be the final result of the creation but the artificial reality. To me, all of these works that he created right now are not on the same level as what would have existed before, in my opinion, they definitely come from the same mind in the same perspective, but they feel less raw to me, less visceral or emotional.

I enjoy them. He reviewed images from earlier in his career that he developed during the fantasy period, like doing this digital work of Notre Dom, but he feels like a lot of fine art and comics artists were held back in this era by trying to embrace new ones. technologies before they were perfected and I believe Beck Schinsky realized this as well when he became frustrated with digital art and abandoned it in the 2000s and would return to painting, but unfortunately this would not last long as on 21 February 2005 he got into an argument with a man named Robert, his housekeeper's son, who wanted to borrow the equivalent of about $100.

Beck Schinsky refused. The argument became heated and the two got into an altercation and Robert stabbed Beck Schinsky 17 times, killing him and not only robbing him. of his life but also of the world of Moore Beck Schinsky paintings that year Burning Man would display a red cross in the shape of a tea in his honor and shortly after the city of the cynic would open a museum dedicated to his work in a local castle that is still open to The Beck Schinsky room is without a doubt the symbol of the birth of modern Polish art, but alsoI think it's a symbol of a reaction to a very specific chaotic moment in world history from a perspective that lived and saw it.

It unfolded as it all happened horribly through war through farce through occupation and totalitarianism he took these things and held on to them before I think they exploded into a purely emotional and visceral reaction to the horrors of life and artistic point of view that provides emotional information. about this time is invaluable