ZBIGNIEW DOWGIAŁŁO

With over forty years of career, Zbigniew Maciej Dowgiałło is considered
one of the greatest Polish painters of the turn of the 21st centuries

 

email: dowgiallo@eteroid.com

Zbigniew Maciej Dowgiałło nowa ekspresja prekursor sztuka

Supernova, 1991, oil on canvas, 500 x 1000 cm exhibition Polish Chic at Zachęta – National Gallery of Art in Warsaw in 1991.
The artist had the opportunity to present his works in the Matejko Hall, which had the proportions suitable for his huge paintings.
From left Zbigniew Dowgiałło and painter Anna Gruszczyńska.

Dowgiałło Collection

 

Zwycięstwo Pięknych Kobiet nad Złem realizm sublimacyjny Zbigniew Dowgiałło

The Victory of Beautiful Women over Evil, 2022, oil on canvas, 380×460 cm

Dowgiałło collection

Chile, oil on canvas, 1975, 110×150 cm
Dowgiallo painted this picture at the age of 14.
It was the first new-expressionist picture, long before these trend emerged in Europe.

Juzwa Collection

Zbigniew Maciej Dowgiałło (Dowgiallo)

A legendary Polish artist, creator of the New Expressionism and Cosmic Baroque in Poland, a warrior fighting for freedom, whose faith never died. He is still fighting for beauty and freedom in the world.

Dowgiałło was born in Gdańsk in 1961. He grew up in a noble family, his father Kazimierz came from Lithuania, he was a descendant of the Grand Duke of Lithuania Gedymin (Gediminas), whose grandson Władysław Jagiełło (Jagiello) became the king of Poland.

History teacher Marta Dowgiałło Zbigniew’s mother, while pregnant with him, attended art courses because the ruling communists did not allow her to teach the true history of Poland, she could only teach art. Zbigniew experienced and felt art and painting even before he was born.

Dowgiałło started to paint when he could not walk yet, holding to the walls he painted over them up to his height. Soon, at the age of 10, he started painting with oil paints on canvas and selling his paintings. At the age of 14, he began to paint larger pictures, soon he created  new expressionistic painting Chile. His first exhibition took place in the Student Gallery of the University of Technology in Gdańsk in 1979, inspiring admiration for the quality of his works at such a young age (18).

Dowgiallo began his studies in 1980 at the State Academy of Fine Arts in Gdańsk, which he continued subsequently at the Academy of Fine Arts in Warsaw. He received his diploma from Stefan Gierowski’s class in 1986. Initially he exhibited his works together with Wojciech Tracewski as the first Polish Neue Wilde (new wild ones). 

He participated in the most important exhibitions of the “1980’s Expression.” Initially he created dynamic, impulsive compositions featuring sharp colors. Gradually, he engaged in dialogue with the traditions of culture and art referring to the realities of the period of decline of communism in Poland using huge symbolic canvases.

Since 1986, he has collaborated with Anna Gruszczyńska, creating precursory visions of art of the future: Baroque-Cosmic Paintings and designs for Cosmic Era Architecture.
In the years 1988-1990 he stayed in the United States, mainly in Manhattan, New York, where he painted and exhibited baroque and cosmic paintings and started to deal with computer graphics. In 1989 he received assistanship at the University of Southern California, LA, Faculty of Fine Arts.

After his return to Poland he presented large format paintings devoted to visions of the world of the future, displayed at the greatest European exhibitions Kunst, Europa in 20 cities in Germany and Polish Chic (Polski Szyk) at Zachęta National Gallery of Art in Warsaw. He soon became a pioneer in 3D graphics computer and three-dimensional animation.

In 1998 Dowgiallo won the Grand Prix at the Andre Schelenberg – world exhibition of large-format computer graphic in Reno, Nevada (USA). He is a laureate of numerous prestigious awards in the domain of art, computer animation, and graphics. He is the author of several film screenplay scripts and animated films.

In the years 2001-2002 he was a lecturer of  3D digital art and animation at Rocky Mountain College of Art and Design in Denver, Colorado (USA). His film “Pankosmodios” was shown at the Cannes Film Festival in 2007.

His oil and digital paintings from recent years are devoted to eternal love and to the fight for freedom in Poland, Ukraine, and the world.

His paintings has been exhibited at the National Muzeum in Warsaw (several times),  Museum of Modern Art in Warsaw, National Gallery of Art Zacheta (several times), Ujazdowski Castle Center for Contemporary Art in Warsaw (several times), National Muzeum in Krakow,  Everson Museum of Art in Syracuse, New York Academy of Art, Art Gallery at Cleveland State University, Miami University, Kunsthalle in Bonn, National Museum of Contemporary Art, Bucharest, Romania, Gallery Kűl House, Berlin, Center for Contemporary Art, Dresden, Museum of Modern Art, Debreczyn,  and many others galleries

1989. New York. Dowgiallo and his painting “The Mystery of the Pond”

2010. Dowgiallo dives in the Red Sea

2010, Dowgiałło in Cannes on Cannes Film Festival

 

2019, Dowgiallo on the Kefalonia Island

“Sinking the Raft Full of Comunists” on the exhibition “Radical Realism, Concrete Abstraction”, in the most important place at the National Museum, Warsaw, 1987/88

 

Zbigniew Dowgiallo Maciej

“Sinking the Raft Full of Comunists”, 1987, oil on canvas, 400×480 cm

 

Panitings by Dowgiałło at the exhibition „What’s Up”, Norblin Factory, Warsaw, 1987

The painting of the Conqueror of Moscow, under the Neo-Romanticism neon sign announcing the beginning of a new art trend.

2022, Ujazdowski Castle Centre for Contemporary Art, Warsaw,

Artist Wojtek Korkuć and Z. Dowgiałło on the exhibition “Not Censored Polish Independent Art of the 1980s”,

on the back painting Conquerors of Moscow

 

Sztuka Polska Zbigniew Dowgiałło prekursor nowa ekspresja

Conquerors of Moscow, 1987, oil on canvas, 390×500 cm

In the collection of Piotr Marzec

The Abduction of the Innocent, 1987, oil on canvas, 360×300 cm

In the collection of the Zachęta National Gallery of Art in Warsaw

The Mystery of the Pond, 1987, oil on canvas, 280×400 cm,

collection of the L. Wyczółkowski Museum in Bydgoszcz

Zbigniew Dowgiałło Miłość i Dekadencja

Love and Decadence, 1987, oil, canvas, 250×390 cm

private collection

Zbigniew Maciej Dowgiałło

National Museum, Warsaw, 1987/88

At the top on right, painting Love and Decadence

by Dowgiałło at the exhibition Radical Realism, Concrete Abstraction.

 Fall of III Rome, 1987, oil on canvas, 320x400cm, collection of National Museum, Warsaw

The Raid on Kyiv, 1984, oil on canvas, 380×500 cm

The largest and most famous painting of the exhibition Nowa Ekspresja (New Expression) State Gallery BWA Sopot 1986

Dowgiałło collection

Supernova, oil on canvas, 500 x 1000 cm. exhibition Polish Chic at Zachęta in Warsaw in 1991.

Dowgiallo collection

California Mon Amour ( California My Love), 1988 oil on canvas, 320×600 cm.

Displayed at the greatest European exhibitions Kunst Europa 1991,  Art of Europe 1991, in 20 cities in Germany. Kunsthalle Bonn

Collection of Jan Wienawski

 

Rocket in Light Fusion Synergy, 1987, oil on canvas, 320×400 cm

Displayed at the greatest European exhibitions Kunst Europa 1991,  Art of Europe 1991, in 20 cities in Germany. Kunsthalle Bonn

Dowgiałło collection

The Fall of Bad Man after Memling, 1986, oil on canvas, 220×360 cm

Displayed at the greatest Dowgiallo exhibitions in Warsaw, 1986. SARP Gallery

Collecton of artist prof. Ewerdt Hillgeman, Rotterdam

 

The Fall of Bad Man after Rubens, 1986, oil on canvas, 230×360 cm,

collection of the Museum of Art in Łódź

Displayed at the greatest Dowgiallo exhibitions in Warsaw, 1986. SARP Gallery.

The Fall of Bad Man after Rubens, 1986, oil on canvas, 230×360 cm,

collection of the Museum Jerke in Recklinghausen

Fall of Rome, 1986, oil on canvas, 200×160 cm

 

collection of Andrzej Bonarski
 

Lithuanian Riders, 1986, oil on canvas, 200×160 cm

Collection of Anna Gruszczyńska

Infernal Beauty, 1986, oil on canvas, 200×160 cm

Dowgiałło collection

Girls Angels, 1985, oil on canvas, 188×158 cm

Dowgiałło collection

Smolensk, 2010, oil on canvas, 360 x 460 cm

Displayed at the Muesum of Modern Art, Warsaw, 2012

Dowgiallo collection

 

Zbigniew Maciej Dowgiałlo malarz Ukrzyżowanie Zachęta

Crucifixion, 2012, oil on canvas, 460×540 cm

Dowgiałło collection

 

Mariupol – Victoria, left part The Wrath of God, right part Swords of the Archangels,

center finished 20 04 2022, whole 10 05 2022, oil, canvas, 235×585 cm, at the artist studio.

Dowgiałło collection

Death from Heaven – The Husaria has arrived, from the series Vengeance of the Archangels, 13 04 22, oil on canvas, 160×400 cm

Dowgiałło collection

Invincible Lithuania, 2011, oil on canvas, 220×360 cm

A picture dedicated to the victorious fight of Lithuania against Soviet invader in 1991

Dowgiałło collection

 

Innocent Child. Painted on the 50th anniversary of the Jewish uprising in the Warsaw Ghetto

in occupied Poland by the German Nazis, 1993, oil on canvas, 110×160 cm

Dowgiallo collection

 

Kyiv, Fight for Life and Death, 2015, oil on canvas, 150×200 cm

Dowgiałło collection

Kyiv. Victory of the Archangels over the Beast, 10 03 2022 oil on canvas, 160 x 200 cm

Dowgiałło collection

 

Bucza, 29 02 2022, oil on canvas, 160×200 cm

Dowgiałło collection

The Slaughter of Crown (WRON ) 1982, oil on canvas, 195×230 cm,

collection of the Museum of the European Solidarity Center, Gdańsk,

Crow = WRON – Military Council of Public Salvation led by a Soviet General W. Jaruzelski

One More Day of War, 1982, oil on canvas, 190×230 cm

The Crease of the Evil One, 1984, oil on canvas, 280×310 cm

Dowgiałło collection

C’est la Vie – Selawi, 1983, oil on canvas, 240×300 cm

Collection of the Czartoryski Princes

Columbus Swim to America, 1984, oil, canvas, 230x300cm

Private collection.

 

The Slaughter of Matisse, 1985, oil on canvas, 350×250 cm

Collection of Andrzej Bonarski

Tahiti Island Engulfed in the Frenzy of Eternal Love, 1986, oil on canvas, 240×195 cm

Private collection

Moorea – the Island of Happiness, 1986, oil on canvas, 240×195 cm

Private collection

Blowing Picasso, 1986, oil on canvas, 190×240 cm, collection of the Museum of Art in Łódź

King and Girls, 1986, oil on canvas, 190×240 cm,

collection of the Museum of Academy of Fine Art in Warsaw

Volcano that Breathes Love Forever, 1986, oil on canvas, 240×195 cm

Collection of Małgorzata Grabowska

Painter and the Greeks in Rhodes.
Whole title: The Mysterious Meeting of the Painter with the Greeks in Latani, Rhodes,
from the left Pompadous, his son Gelondeos, Painter, Pop. 1987, oil, canvas, 150×200 cm

Collection of Radio Wnet

Girls Bathing, 1985, oil, canvas, 180×220 cm

Dowgiałło collection

Beautiful Girls Save the Divine Rebecca, who Has Fallen into the Abyss
of her own Desire. 2009, oil on canvas, 180×220 cm, Painting for the film Patmos

Dowgiałło collection

Dowgiałło and his painting titled: The Universal Soul of the All Cosmos, 2007, unfinshed yet.

Electrification of Virgins, 1985, oil on canvas, 160×180 cm

Battle for Love, 2008, oil on canvas, 180×220 cm, Painting for the film Patmos

Collection of Krzysztof Gniech

Not Only Blondes Will Find Their Way To Heaven, 2007, oil on canvas, 180×220 cm

Defender of the Innocent Maidens on the Run from the Cyclone of Death in United City,
Painting for the film Patmos, 2008, oil on canvas, 180×220 cm

Anna Baranowa
 
HEADING TOWARDS UTOPIA ARTISTIC CREATION BY ZBIGNIEW M. DOWGIAŁŁO
 
….. Zbigniew M. Dowgiałło was a forerunner of new figuration (neo-expressionism) of the nineteen eighties. He made his debut already before his university studies at his home city of Gdańsk. He also began his education in art at the State College of Fine Arts (PWSSP) there, but he soon moved on to the Academy of Fine Arts in Warsaw, where he studied in the years 1981-86. He exhibited his works regularly from the spring of 1979.
 
In the work of Zbigniew Dowgiałło the terminus a quo consists of a large format canvass, painted with impulsive fury, devoted to the first victims of the imposition of martial law at the Wujek coal mine (turn of December 1981 / January 1982): concise form, fast brush duct and a cry of protest. Despair personified by a figure raising her hands with the helpless Victory gesture. Another one clenches her fists. This impetus of young expressionism, supported by the subconscious reminiscence of Goya’s Execution by firing squad of Madrid insurgents and of Picasso’s Guernica, was to unfold into a cycle of several dozens of paintings, featuring metaphoric protest and struggle. Dowgiałło successively displayed them at private viewings, in the hall of the Academy of Fine Arts in Warsaw, at Brama Gallery (1983), at BWA Gallery in Lublin (1984), at the 1st Biennale Goodness and Truth in Wrocław (1985, distinction of merit). One should mention among them such works as the following: Icarus, Ludzie skowrony [Human skylarks], Walka [Combat], Jeszcze jeden dzień [One more day], Ordynacja wyborcza [Electoral law] (all from 1982), Litwo, Korono zwyciężaj [Let Lithuania, the Crown, win], Nalot [The Raid], Pokolenie 80 [Generation 80], Łubudu [Thumpety thump], Śmierdzący cap [Stinking billy goat], Bez strachu [Fearless] (all from 1983), Gniecenie złego [Crushing of evil], Zdobycie Kijewa [Conquest of Kiev] (1984).
 
This important set of paintings would merit to be brought back to memory today. It provides an excellent example of the specificity of young Polish painting of that period, consisting of the merging of instinctive, savage expressionism with protest against totalitarian rule.
 
Zbigniew Maciej Dowgiałło was not only in the forefront picket of the new wave, but also became associated with the underground movement, collaborating with radical Resistance Groups Solidarni. During the martial law period in Poland the hunger for pictures was combined with even greater hunger forfreedom. Dowgiałło painted with passion, vehemently, with incredible energy.
 
 

Fall Down, 1986, ink on paper, 86x120cm


This important set of paintings would merit to be brought back to memory today. It provides an excellent example of the specificity of young Polish painting of that period, consisting of the merging of instinctive, savage expressionism with protest against totalitarian rule.
 
Zbigniew Maciej Dowgiałło was not only in the forefront picket of the new wave, but also became associated with the underground movement, collaborating with radical Resistance Groups Solidarni. During the martial law period in Poland the hunger for pictures was combined with even greater hunger forfreedom. Dowgiałło painted with passion, vehemently, with incredible energy.

 

History of the World, 02, 1982, ink on paper, 86x120cm

Prof. Ryszard Winiarski, (the rector of Academy of Fine Arts) with whose atelier he was associated over the years 1984-86 and in exhibitions organised by whom he took part, wrote that the paintings of that young and yet already distinguished artist, contained the „tensions and vitality of contemporary art”. He also stressed that his enormous works were „laid not so much in the plane of the canvass, as they entered into fully fledged interaction with the surrounding real space, vesting it with dynamic character”. Dowgiałło – a hot head and erudite – let his spontaneous impulse take its course in a controlled way. He looked for support in the history of painting.
 
He was absorbed by great compositions, showing battle scenes, apocalyptic visions and the Last
Judgement. He referred back to Memling (with whom he was familiar since childhood as a native of Gdańsk), Michelangelo, Rubens, Matejko, and even Chełmoński. The painting Conquest of Kiev [Zdobycie Kijowa], the dynamics of which are electrifying, had a subtitle: according to Chełmoński. The mighty red apocalyptic beast and the two steeds accompanying it charge at the viewer with impetus similar to that of Chełmoński’s Troyka [Trójka]. Matejko’s Battle of Tannenberg (Grunwald) was also of considerable significance for this artist. Not only due to the Lithuanian roots of the Dowgiałło family (for Lithuanians that painting remains a national icon until this day), but above all owing to its orchestration and form. The works of Chełmoński and Matejko were akin to some sort of tableaux vivant, they extended beyond the frames – now bringing him close to the emergence of filmmaking.
 

 

History of the World, 04, 1982, ink on paper, 86x120cm

Gifted with cinematographic imagination – in 1986
Dowgiałło painted a cycle of apocalyptic Hollywoodlike scenes of struggles and downfalls: Downfall to Hell according to Memling [Upadek do piekła według Memlinga], Downfall to Hell according to Rubens [Upadek do piekła według Rubensa], Horsemen in the Sky – the Fall of Rome [Jeźdźcy na niebie – Upadek Rzymu], Lithuanian Horsemen [Jeźdźcy litewscy] (alternative title: Horsemen in the Sky [Jeźdźcy na niebie]), Lunch in Hell [Lunch w piekle], Infernal Beauty [Piekielna piękność] (alternative title: Love
Story [Historia miłości]).
 
In the year that followed this frenzied series, which was underpinned with pan-eroticism, further acclaimed works were added, some of which ended up in museum collections: Mystery of the Pond [Tajemnica Sadzawki], Abduction of the Innocent [Uprowadzenie niewinnej], Love and Decadence [Miłość i Dekadencja], Fall III of Rome [Upadek III Rzymu], Sinking of a Raft full of Soviets [Zatonięcie tratwy pełnej bolszewików]. Dowgiałło reaches back to the traditions of romantic and academic painting, enriching his neo-expressionism with a powerful dose of neo-romanticism and neo-mannerism.
 
By the end of 1987 some of these paintings opened up the acclaimed exhibition organised by Andrzej Bonarski Co słychać? [What’s up?] on the premises of the former Norblin Factory in Warsaw. Novelty turned out to consist of what was reminiscent of pieces from the olden days. Zbigniew Dowgiałło, who successfully juggled with conventions and changed historic costumes, referring back to Poussin, Géricault, Vernet and many others, could be ranked amongst the leading Polish post-modernists, if not for the fact, that he specifically dissociated himself from postmodernism. He conducted his own perverse dialogue with tradition, having a different sense of time. He created in the belief that „time could be twisted”, enveloped in the all-embracing Now, with
the present not differing from the past. Toward Revival The artist possessed by the theme of downfall and decadence wrote: „Horsemen of the Apocalypse have already set out from the blackden I can see already indeed the first one rides a white steed with sword in hand as fire belches out courage fades the roar builds up.” In the turmoil of the nineteen-eighties this apocalyptic tone remained unrecognised. In Dowgiałło’s obsessions it was easier to perceive the „artificial nurturing of his own hysteria” and his going astray, rather than the germs of a positive
programme.
 

 

50% Picasso and 50% Dowgiallo, 1983, ink on paper, 86×120 cm

With the wisdom of hindsight of the twenty years that have passed since then, I am able to claim that the attitude of the artist comprised underlying utopian motives. Dowgiałło acted according to the logic of utopians. He presented the proportions of disintegration not in order to impress, but to point at the necessity of complete revival.
 
One of the key paintings created in the „pompous” series by Dowgiałło was inspired by the canvass of Thomas Couture entitled Romans at the time of decadence. At the Paris salon in the year 1847 that artist received the first prize. The scene of a Roman orgy was perceived as a metaphor of France on the eve of the downfall of the July monarchy. Dowgiałło’s Love and Decadence repeats the theme of an orgiastic feast and the scheme of its composition. The allusion to the Polish situation is made by the red and white draperies. An essential change consists however of the hanging above the voluptuous couples of a huge oversized nude of a young woman, in a pose similar to that of Venus from the paintings of Giorgione and Titian. In Couture’s vision the cleansing was to come from the healthy Germanic tribesmen, looking on with distaste at the scene of promiscuity.
 
The source of revival pointed at by Dowgiałło was true love – personified by the lying red-haired Venus.
At that time the artist was already attached to the very young painter, still a student, Anna Gruszczyńska. It was with her – the Red-Head from prof. Gierowski’s class – that he created the vision and the programme for regeneration of art and of the world.
 

At that time the artist was already attached to the very young painter, still a student, Anna Gruszczyńska. It was with her – the Red-Head from prof.Gierowski’s class – that he created the vision and the programme for regeneration of art and of the world.

They gave a foretoken of their programme already in spring 1987 during their joint exhibition at the Promotional Gallery. The paintings, which they displayed were completely different from what they had both been painting and presenting at other exhibitions. Art critic Maryla Sitkowska recalls that „the most prominent painting featured an abstract thicket of neither pipes nor lianas: technology intricately interwoven with biology in an inextricable thick tissue.” And she adds: „In those days, when painting by the young was expected to
contain rather the expressions of political overtones, and from Dowgiałło one awaited further pastiches of the art found in museums – this exhibition and painting were ignored.” During the vernissage a manifesto was proclaimed advocating new art – Evolutionary Art – formulated in seventeen paragraphs. It started from ruthless criticism of the status quo. The sources of decadence and decline were attributed to the disintegration of the whole artistic world. „Rational integration at a higher level” was pointed at as the only solution. In successive paragraphs it was proclaimed: „The world is in uniformly retarded motion, listless, carried by the inertia of preceding years, without purpose, without any sense, the same is true of today’s art.

Water Architecture, 1995 pencil on paper, 51x65cm

The time has come to interrupt this retarded motion, to change its course and to set the world in motion faster than the speed of light”. „The epoch of new form is coming and its shape will not consist of the epigonic garbage of art of recent years. Apologists must die out and perish in the burning fire of the art of Evolution”. „The art of Evolution leads on to the 21st century.” This manifesto was entitled the First Programme of the First Evolutionary Academy of Global Art. Despite the fact that Dowgiałło himself does not recognise this, that programme was par excellence utopian. Indeed, any utopia constitutes a dichotomous vision of the world, polarised between what is in existence and what ought to be. Visions of ideally arranged worlds always require their sharp contrasting with the existing order. It should be stressed that the young artists were not interested in escaping from inconvenient dimensions of the world, but rather wanted to give it new shape. It was therefore not any escapist utopia, which would have been perfectly justified by the approaching fin-de-siecle, but rather a heroic utopia of massive reconstruction. At the time that programme was indeed exceptional, as post-modernism, which negated the idea of linear progress, sidetracked also any sense of utopia. It was the avant-garde that was programmatically utopian. After its crisis holistic systems for the revival of art and the world appeared extremely infrequently.

 

Cosmic Architecture in Warsow, 1990, pencil on paper, 51x65cm

The new programme was to be realised by the First Evolutionary Academy of Global Art created in March 1987 with headquarters in Warsaw and affiliates in Gdańsk, Geneva, Milan, Munich, New York, Los
Angeles and Rotterdam. A year later, the artists produced their second manifesto, accompanying their exhibition of Evolutionary Architecture at the Polish Architects’ Association (SARP). At both presentations Zbigniew Dowgiałło showed works with strongly geometrical, energised form, programmatically moving away from „subjectivity, expression, emotionality, instinct, the literary touch” in favour of „rationalism,
awareness, dynamism, evolution”. These paintings, with very telling titles, built up the topography of the new utopia – the ideal place, which does not exist, but which is worth pursuing.
Futuro-House [Dom futuro], City I [Miasto I], City II [Miasto II], Light in the City [Światło w mieście], Luminous Penetration [Przebicie światłem], FuturoCosmic City [Miasto futuro-kosmiczne].

The key notion of evolution, conceived as incessant growth and differentiation, stimulated the quest for new quality. The artist’s invention suggested to him the shapes of synthesis of a higher order, which at the formal level was associated with some biologicalcosmic futurism. Biological and technical evolution accelerated by the dizzying pace of technological development, was to be the introduction to the evolution of the spirit.

 

 

Inside in Crystal Universe, 1990, pencil on paper, 51x65cm

Dowgiałło, who still continued showing his neoexpressionistic paintings belonging still to the order of the ancien régime, showed also an intermediate way. The enormous compositions Conquer of Moscow [Zdobywcy Moskwy] and California, mon amour dating from 1987 are a combination of the forms of pop-art, science fiction and the art of Evolution. The struggle continues between two formal frameworks and two different worlds. The old world of totalitarian violence and chaos must succumb to humanism and spiritual purity, which are synonymous with the art of Evolution.

The next stage on the way to the new ideal of beauty was the long stay of the artists in the United States in the years 1988-90. Dowgiałło and Gruszczyńska, while continuing to work on the development of their concept, became interested in digital art, which enabled them to considerably expand their creative capacities. They demonstrated the effects of that American schooling at the collective exhibition Polish Chic [Polski szyk] at Zachęta in Warsaw in 1991, where they were invited as representatives of a current having no analogies and which opened new prospects. „Gruszczyńska and Dowgiałło embody mylonging for a Polish future” – wrote Andrzej Bonarski, the curator of that exhibition, closing his activities as author of spectacular art shows.

The artists had the opportunity to present their works in the Matejko Hall, which had the proportions suitable for the accommodation of their ambitions. Apart from some smaller paintings, Anna Gruszczyńska displayed her gigantic work FuturoBaroque. The enormous painting of her husband entitled Supernova provided an adequate pendant to her vision. Before the eyes of amazed viewers a space composed of 10 segments unfolded beyond earthly dimensions, in which evolutionary transformations took place at the inter-planetary level. The artist’s imagination faced the issues of life and beauty in the cosmos. Amongst stellar turbulences, whirls of matter and spiralling trajectories strange biomorphic structures of cosmic architecture sprung up, which could be compared to a sort of nature of the galactic.

Dowgiałło and Gruszczyńska, however, did not intend to limit themselves just to the visionary
works confined within the walls of galleries, but also had the ambitions to reach out into urban
space. In order to demonstrate the capabilities of evolutionary architecture, in 1992 they took part in an international competition for the design of future development for the Parade Ground [Plac Defilad] in the centre of Warsaw. Their design for its layout was an attempt at real life implementation of their pioneering vision of architecture, which owing to contemporary technological means was not at all doomed to remain a utopian dream.

Nevertheless, only the maquette models remained from that contest, which in spite of good intentions of the organisers failed to enable the implementation of any project. We may only wonder what the centre of Warsaw would have looked like today, if that place, which is a token souvenir of communist urban planning and has so quickly become fouled up by commercial trash, would have been entrusted to the two artists with unrestrained imagination, who believed in the possibility to renew the world through beauty.

Anna Baranowa

Text for the catalog of the Dowgiallo art exhibition at the Gaga Gallery in Warsaw in 2006
Translation by Witold Czartoryski
ISBN 83-922520-3-9

 

Divergent Spaces, Pure Form of World – World Black Hole World White Hole,

 1988, pencil on paper, 51x65cm

Cycle of Drawings: Solving the Mystery of the Existence of the World

Indicated Worlds Number XC20R, 1989, ink on paper, 51x65cm

Cycle of Drawings: Solving the Mystery of the Existence of the World

Constant Zybi Zc = 0, 1988, ink on paper, 51x65cm

Cycle of Drawings: Solving the Mystery of the Existence of the World

Visual Project for Movie Patmos, Scene – Joanna Vision,  2008, pencil on paper, 51x65cm

Noah’s Ark Project 2080-2010, 1998, pencil on paper, 41x65cm

 

Cosmos Architecture, 1989, pencil on paper, 51x65cm

 

Visual Project for Movie Patmos, Scene – Joanna Vision 2, 1989, pencil on paper, 51x65cm

 

Storm in the City, 1989, pencil on paper, 51x65cm

 

The Last Judgment Part 4, 2007, pencil on paper, 70×100 cm

 

The Last Judgment Part 3, 2007, pencil on paper, 70×100 cm

 

The Last Judgment Part 2, 2007, pencil on paper, 70×100 cm

 

Cosmic Architecture Orange Space, 160x200cm, 1988

Collection of the Czartoryski Princes

Cosmic Architecture 01, 160x200cm, 1988

Cosmic Architecture 02, 160x200cm, 1988

The Everlasting Charm of the Angelic Angels, 2002, oil on canvas, 200×300 cm,

Dowgiałło collection

Zwycięstwo Pięknych Kobiet nad Złem realizm sublimacyjny Zbigniew Dowgiałło

The Victory of Beautiful Women over Evil, 2022, oil on canvas, 380×460 cm

Dowgiałło collection

The Victory of Beautiful Women over Evil, fragment, 2022, oil on canvas, 380×460 cm

The Victory of Beautiful Women over Evil, fragment, 2022, oil on canvas, 380×460 cm

 

ART EXHIBITIONS (selected)

 

2022 Not Censored. Polish Independent Art of the 1980s. Ujazdowski Castle Centre for Contemporary Art, Warsaw,

2021 Exhibition of the Painting Collection of Werner Jerke at the State Art Gallery in Sopot

2017 Kunst der Freiheit, The Art of Freedom, Gallery Kűl House, Berlin

2013 Polnische Wilde Malerei der 80-er und 90 Jahre. Glasbau Gallery, Germany

2012 Polish National Art, Museum of Modern Art, Warsaw

2012 Generation 80 – Independent Creativity of Young Generation 1980-89, Regional Museum in Rzeszów.

2011 East Beast, Polish New Expression of the 80 ties, Center for Contemporary Art, Dresden,
Germany

2010 Polish Art, Gallery Wilno, Lithuania

2010 Generation 80 – Independent Creativity of Young Generation 1980-89, National Museum in
Krakow

2010 Apogeum New Expression 1987, Center for Contemporary Art, Toruń

2010 The 80s, GAGA Gallery. Warsaw

2010 Banana Republic – Expression of the 1980s, Museum of Modern Art, Debreczyn Hungary.

2009 Banana Republic – Expression of the 1980s, National Museum of Contemporary Art,
Bucharest, Romania.

2008 New Expressionism, Olsztyn Gallery BWA,

2009 Gallery Szyb Wilson Katowice

2008 Banana Republic – Expression of the 1980s, National Museum, Szczecin

2008 Banana RepublicExpression of the 1980s,

2008 Banana RepublicExpression of the 1980s, Gallery Wozownia, Toruń

2008 Banana RepublicExpression of the 1980s, Gallery Arsenał, Poznań

2008 Banana RepublicExpression of the 1980s, Centre for Contemporary Art, Gdańsk;

2008 Banana RepublicExpression of the 1980s, Galery BWA Castle Książ

2008 REDline’08 Bordering on Us, Ideias
Imergentes Centre, Porto;

2008 Kaunas in Art: Contexts, Meno parkas Galerija,
Kowno.

2005 Europe in Art, Gallery Krolikarnia. National
Museum, Warsaw

2004 Duty and Rebellion. Academy of Fine Arts
Zacheta National Gallery, Warsaw

2003 Animation Show. MCK Gallery, Warsaw

2003 Animation Show. WSPS Gallery, Warsaw

2002 International Triennalle of Graphics, Krakow

2002 Polish Art, Vienna Art Center, Vienna

2001 Animation Show. Rocky Mountain Callege of Art and Design. Gallery, Denver, USA

2000 Polish Landscapes, National Museum in
Warsaw

2000 Polish Art ,Gallery Meduna. Vienna Austria

2000 International Triennalle of Graphics, Krakow

2000 Animago, Animation Festival, Munich,
Germany, nomination in 2 categories

2000 The 5th Sapporo International Print Biennale,
Exhibition, Sapporo, Japan

2000 Art of New Expression, Museum Zielona Gora, Poland

1999 Norwegian International Print Triennale,
Center of Graphic Art, Fredrikstad, Norway

1999 Exhibition DPI (Digital Printing & Imaging
Association)
, Reno, Nevada.
First Andre Schelenberg Award in Fine Arts
category.

1999 International Triennial – Rio de Janeiro,
Museum de Arte Moderna do Rio de Janeiro,
Brazil

1998 Prix Ars Electronica 98, Cyberarts, (in
Computer Animation/Visual Effects),
Linz, Austria

1998 International Triennial Cracow-Nürnberg, Fair
Centre, Nuernberg, Germany

1997 Polish Graphics, Katowice

1997 Mini Triennial – continents, State Art Gallery BWA,
Jelenia Góra, Poland

1997 International Triennalle of Graphics, Krakow

1998 Prix Ars Electronica 98, Cyberarts, (in
Computer Animation/Visual Effects),
Linz, Austria

1992 Architectural contest for build the center of
Warsaw,
SARP Warsaw

1991 Kunst, Europa 1991, Art of Europe 1991,
Germany, Kunsthale Bonn

1991 Szyk Polski, Polish Shick, National Gallery
Zacheta, Warsaw

1992 The Expressive Struggle. 29
Contemporary Polish Artists
Everson Museum of Art, Syracuse, USA

1991 The Expressive Struggle. 29 Contemporary Polish
Artists Museum of Art, New York

1990 Raj Utracony, Lost Paradise Ujazdowski Castle
Centre for Contemporary Art, Warsaw,

1990 The Expressive Struggle. 29 Contemporary Polish
Artist Polish Museum, Chicago

1990 The Expressive Struggle. 29 Contemporary Polish
Artist Anderson Gallery, Buffalo, NY

1988 Bruno Schultz, Gallery SARP, Warsaw

1987/1988 Realizm Radykalny. Abstrakcja
Konkretna, Radical realizm , Concrete abstraction
National Museum in Warsaw

1987 Painting in the circle of the Warsaw Academy,
Gallery
El, Elblag, Norblin, Warsaw

1987 Co slychac?, Whats News, Gallery Norblin,
Warsaw

1986 Ekspresja lat 80-tych, Expression of the 80s,
State Gallery BWA Sopot

1986 Four from Poland, Galerie Alles 12 vor 24 volt,
Rotterdam

1986 Four from Poland, Galerie Nouvelles Images, Haga

1986 Atelier Winiarski. Akademie der Schönen
Künste Kunstation Kleinsassen, Germany

1985 I Biennale Droga i Prawda, The Way and the
Truth.
National Exhibition of Young Painting,
Katedra Wrocław.

1985 Atelier Winiarski. Gallery BWA Zielona Góra

1984 Atelier Winiarski. Gallery KUL, Lublin

Individual

2017 Cosmic Love. Free Word Association Gallery,
Warsaw

2014 Revelation, Gallery Castle Książ

2013 Two seconds from the beginning of the
Universe
, Center for Contemporary Art,
Suwałki.

2012 Smoleńsk, Exhibition of the painting in the
Post-Camaldolese Church in Warsaw

2010, Computer Graphic Exhibition, Bank HSBC
Warsaw

2009 Not only Blonds Go to the Heaven, Gaga
Gallery, Warsaw

2008 Thermal Enslavement of the Planet Earth,
Mariacka Gallery, Gdansk

2007 Slaughter of Crow, Free Word Association
Gallery, SWS Gallery, Warsaw

2006 Painting 1986-1992 Gaga Galery, Warsaw

2005 Animation Show – Patmos, Ujazdowski Castle
Centre for Contemporary Art, Warsaw

2004 Digital art Show Kino Luna, Warsaw

2001 ASIFA Show in RMCAD in Denver, USA

2000 Dowgiallo Art, Gallery Bank PBK, organized by
National Musem, Warsaw

2000 Show of Apocalypse Parts 9 & 16 National Museum in Warsaw,

1999 Digital Art, Hurghada, Egypt

1998 Digital Art, Gallery Abakus, Warsaw

1997 Digital Art, International Computer Fair –
INFOSYSTEM ‘97. Poznan

1995 Comet and Meteor, Gallery Abakus, Warsaw

1991 Orbit XX Gallery Mlodych, Warsaw

1988 Drawings, Gallery Sosnowski, Warsaw

1988 Evolution Architecture – Gallery of Polish
Architects Association – SARP, Warsaw

1987 Painting, Gallery Wielka, Poznan

1987 First Exhibition of the First Evolutionary
Academy of Global Art
– Gallery
Promocyjna, Warsaw

1986 Painting, Gallery BWA Sopot

1986 Paintings Show, Gallery of Polish Architects
Association SARP, Warsaw

1986 Private Art Show, artist’s Studio Glogera, Warsaw

 

1985 Duży Murzyn, Gallery Stodola, Warsaw

1985 Private Art Show, artist’s Studio Glogera, Warsaw

 

1984 Arrival of the Greenland Wall, Gallery Remont,
Warsaw

1984 Private Art Show, artist’s Studio Glogera, Warsaw

 

1984 Painting, State Gallery BWA Lublin

1983 Private Art Show, artist’s Studio Glogera, Warsaw

1983 Painting, Gallery Brama, Warsaw

1982 Private Art Show, artist’s Studio Glogera, Warsaw

1982 Painting, Academy of Fine Arts, Warsaw

1981 Private Art Show, artist’s Studio Glogera, Warsaw

1979 Painting, Gallery PG, Gdansk

1977 Architecture, Drawings and Paintings Show, Kupść Private Architecture Gallery and Workshop, Sopot

 

Z. Dowgiałło painting exhibition, 1983 Gallery Brama, Warsaw, from left: Kazimierz Dowgiałło father of Zbigniew, profesor Jan Tarasin and viewers.

1984 State Gallery BWA Lublin, left Wojciech Tracewski, right Z. Dowgiałło. Exhibition of their paintings

1984 Gallery BWA Lublin, left Wojciech Tracewski, right Z. Dowgiałło. Exhibition of their paintings

Z. Dowgiałło and his big paintings, Academy of Fine Arts, Warsaw, 1986

A crowd of art lovers in front of Dowgiallo’s paintings on exhibition „What’s Up”, Norblin Factor (Fabryka Norblina), Warsaw, 1987

Opening of the exhibition Radical Realism, Concrete Abstraction, National Museum, Warsaw, 1987/88. From the left, curator Ryszard Ziarkiewicz, director of the NM, deputy director of the NM Janusz Zagrodzki, under the painting The Sinking of a Raft Full of Soviets

Zbigniew Dowgiałło Muzeum Narodowe Warszawa Museum National Warsaw

Dowgiallo and his painting The Sinking of a Raft Full of Soviets. National Museum, Warsaw, 1987

 

Anna Gruszczyńska and Z. Dowgiałło assembly of the exhibition Polish Chic at Zachęta National Gallery in Warsaw in 1991

Anna Gruszczyńska and Z. Dowgiałło assembly of the exhibition Polish Chic at Zachęta National Gallery in Warsaw in 1991

Sinking of a Raft full of Soviets, on the exhibition The Art of Freedom, Polish New Expression of the 1980s, Fighting, Gallery Kűl House, Berlin, 2017

Conquerors of Moscow on exhibition Banana Republic – New Expressionism, Gallery Arsenał, Poznań

The History of World, Ball to the End. Part 1001, 2008, oil on canvas, 160×200 cm

Dowgiałło collection

The History of World, Ball in Colosuem, Part 1002, 2008, oil on canvas, 160×200 cm

Collection of Krzysztof Gniech

Wojciech Tracewski (left) and Z. Dowgiałło are holding Dowgiałło’s painting “Space Maidens”
in the courtyard of the Academy of Fine Arts in Warsaw, 1984, painting is upside down
WORKS IN MUSEUMS AND PUBLIC COLLECTION
 
National Museum in Warsaw
Museum de Arte Moderna do Rio de Janeiro, Brazil
Bank HSBC, Paris
National Museum in Krakow,
Museum of Art in Łódź,
Museum of the Academy of Fine Arts in Warsaw,
National Museum L. Wyczółkowski in Bydgoszcz.
Museum Jerke, Recklinghausen,
Museum of the European Solidarity Center, Gdańsk
National Gallery of Art Zachęta, Warsaw

State Gallery, BWA Lublin
State Gallery BWA Sopot
Bank Pekao SA, Warsaw
Künste Kunstation Kleinsassen, Germany
Kunsthale Bonn
International Triennalle of Graphics, Krakow
Center of Graphic Art, Fredrikstad, Norway
Digital Printing & Imaging Association, Reno, Nevada.
Center for Contemporary Art, Suwałki

WORKS IN PRIVATE COLLECTIONS:
 
Poland, Lithuania, USA, Portugal, Netherlands, France,
Great Britain, Italy, Japan, Greece, Germany
 
 
AWARDS AND DECORATIONS (selection)
 
2018 – Cross of Freedom and Solidarity, for the fight for freedom during martial law, awarded by the President of the Republic of Poland.
 
2011 – Cavalry CROSS OF THE ORDER OF POLISH REVIVAL, awarded to creators of independent media during martial law by the President of the Republic of Poland.
 
2003 – Grand Prix in animation, Rome Independent Film Festival.
 
2002 – Grand Prix, Biennale Grafiki Polskiej, Katowice
 
2001 – Award (Merit) American Screenwriters Association („Apocalypse 2027”);
 
2000 – Animago Animation Festival, Munich – nominations in 2 categories;
 
1998 – Distinguished Award in Computer Art, „3-D Magazine”
 
1999 – Andre Schelenberg, Grand Prix (Digital Printing & Imaging Association); Reno, USA;
 

1985 – The Way and the Truth. National Exhibition of Young Painting, St. Krzyża, Wrocław, diploma of recognition

 
FILMOGRAPHY
 
1976 – The Neutron Bomb, 8 mm, short debut (screenwriter, director, actor, cinematographer)
1996 – Deluge, 3D computer animation (producer, director, animator)
 
1998 – The Great Multimedia World Atlas, (producer, director, animator)
30 computer science animations (producer, director, animator)
30 short nature films in digital technology (producer, director, operator)
 
1999 – Apocalypse. Part 9 and 16, 3D computer animation (screenwriter, producer, director, animator); It is a pre-visualization of the future feature film Apocalypse 2097
 
2002 – Katarzyna Kobro, 3D computer animation (director jointly with prof. Janusz Zagrodzki, animator)
 
2006 – Pankosmodios, 3D computer animation. Screenplay: Krzysztof Dowgiałło and Z. M. Dowgiałło,
(producer, director, animator)
Pankosmodios Cosmic Opera Overture, computer animation
 
2012 – Defenders, documentary, (producer, director)

Death of Marat, oil on canvas, 1974, 70×100 cm, painted by Dowgiallo at the age of 12, Dowgiałło collection

Z. Dowgiałło in his painting studio in Mainz, 1985

Łubudubu, 1983, acrylic, paper, 300x350cm

New York New York, 1984, acrylic, paper, 300x350cm

Sometimes Dowgiallo paints abstarct paintings

UFO and CIA, 1996, oil on canvas, 160×200 cm

Dowgiałło collection

Zbigniew Dowgiallo

painter, artist

He lives and works in the countryside 25 km from the center of Warsaw, Poland

email: dowgiallo@eteroid.com

 

Venus on Kefalonia, 2017, oil on canvas, 220×720 cm

Dowgiałło collection