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William Kurelek 1927-1977 The Maze
Osoby z formalnym wykształceniem artystycznym, a także uznani artyści nie są odporni na choroby psychiczne i mogą również zostać zinstytucjonalizowani. Na przykład William Kurelek ,William Kurelek, CM (March 3, 1927 – November 3, 1977) was a Canadian artist and writer. His work was influenced by his childhood on the prairies, his Ukrainian-Canadian roots, his struggles with mental illness, and his conversion to Roman Catholicism. His father, Dmytro Kurelek, was born in Boriwtsi, Bukovina. Mary Huculak, his mother, was born in Canada, and received her elementary education in a local rural school. Her family had come with the first wave of Ukrainian immigration to Canada and was also from Boriwtsi. Dmytro and Mary were cousins. Dmytro arrived to work on the Huculak farm early in 1923. The couple married in the summer of 1925, his mother not quite nineteen at the time.William Kurelek was born near Whitford, Alberta in 1927, the oldest of seven children in a Ukrainian immigrant family: Bill, John, Winn, Nancy, Sandy, Paul, Iris. His family lost their grain farm during the Great Depression and moved to a six-hundred-acre former dairy farm near Stonewall, Manitoba, around 1933.[3] A cousin let the family off from his wagon at the gate of their new farm in pitch darkness... The back of their farm bordered on the bog, today Oak Hammock Marsh. Some of his paintings in the books A prairie boy's summer, and A prairie boy's winter, depict Kurelek and other children in the setting of the bogland.[6] Treelines along the horizon recorded by him in these paintings are still recognizable in the area. "Victoria School could be seen from our milkhouse a mile away." It was the one-room schoolhouse that Kurelek and his brother, John, attended. When about to enter high school, their father announced that they would do so in Winnipeg, where he purchased a house on Burrows Ave., seeing this as the economically wiser course than throwing money away on rent.
x Weekends, food was brought in by their parents from the farm to help offset the cost of living in the city. Eventually, their sister Winnie joined her brothers. They attended Isaac Newton High School a few blocks away. Kurelek was at the top of his class in German, and did well in all the other subjects. Just around the corner from the house was St. Mary The Protectoress Ukrainian Orthodox church where he attended Ukrainian school, and found a very positive father figure in Rev. P. Majewsk Kurelek graduated from high school in 1946, and enrolled in the fall of that year in the Arts General Course at the University of Manitoba, graduating with his degree in May 1949By this time the family farm had been sold and his father had moved the family to Vinemount, Ontario near Hamilton. Kurelek had developed an early interest in art,
.. which was not encouraged by his hard-working parents. Despite this, he enrolled at the Ontario College of Art in Toronto. His explanation to his father was that there was money to be made in commercial art. In fact, he had no intention of going into commercial art. During this time, he worked at odd jobs to support himself, such as at a carwash on University Ave. At the OCA, he found himself to be the only student with a university degree. Here, he studied the great contemporary Mexican artists: Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco. His innate appeal and love of murals may have originated in his boyhood, when in his absence his father ventured one day upstairs and into his son's room to discover, much to his horror, the walls covered in unseemly illustrations.
[15] Kurelek's friends at the OCA told him about a School of Fine Arts in San Miguel, Mexico, which might grant him a scholarship if he produced something worthwhile.[16] Fired by the thought of studying with one of the great Mexican mural painters, he painted his first self-portrait.[17] Though he studied at the Ontario College of Art in Toronto and at the Instituto Allende in Mexico, he was primarily self-taught from books. Zaporozhian Cossacks, a gift to his father, is the last painting Kurelek did before leaving for Europe for the first time, and shows the influence of the Mexican-....
......ANGLIA By his mid-twenties he had moved to England. In 1952, suffering from clinical depression and emotional problems, he admitted himself into the Maudsley
Psychiatric Hospital in London. TERAPIA There he was treated for
schizophrenia.[]In his autobiography, Kurelek writes that, leading up to the painting of The Maze, he was growing disillusioned with psychotherapy and was desperate for a cure. Part of the anxiety came from the fear that he would not have enough money to stay much longer, so in his mind, "something [had] to be done." But his main doctor, Dr. Cormier, was unhelpful in his "serenity and aloofness." Kurelek writes, "Just as the protest marchers of today despair of attracting attention by peaceful means, and sometimes set themselves alight with gasoline or do physical damage to property, I decided violence against myself was the only recourse I now had." One evening Kurelek cut his arm, and when he revealed this to Cormier the next day, the doctor inquired into the circumstances but didn't panic.[] After the episode Kurelek was invited back as an inpatient to be treated by a different doctor, Dr. Carstairs, who appears in the film William Kurelek's The Maze. Carstairs provided Kurelek with a room that doubled as a studio where he could paint. Kurelek felt very strongly that he had to justify his being there for the doctors, so he commenced painting The Maze, "depicting all [his] psychic problems in a neat package.......... In hospital he painted, producing T
he Maze, a dark depiction of his tortured youth.[] His experience in the hospital was documented in the LIFE Science Library book
The Mind, published in 1965. At Maudsley, Margaret Smith, Kurelek's occupational therapist would change the course of Kurelek's spiritual life.[] One day, she brought him a book of poems, wrapped in a dust jacket that she had made herself out of a Catholic newspaper. "I was a staunch atheist at the time…," Kurelek recalled, and upon discovering her Catholic faith, teased her about it. Later, he asked her if she was praying for him, and she answered, "Yes, I am." From here, they began to attend church services together.[] He took a correspondence course from the church, and met with Father Edward Holloway,[] a theologian trained at the English College in Rome, who helped him over some final stumbling blocks. In February 1957, Kurelek entered the Roman Catholic Church by a ceremony of conditional baptism. Margaret Smith, and his friend David John, a sculptor who did work for the church, were his godparents.............................
..........................TERAPIA ARTE PSYCHO He was transferred from the Maudsley Hospital to the Netherne Hospital, where he stayed from November 1953 to January 1955, to work with
Edward Adamson (1911–1996), a pioneer of art therapy. At Netherne he produced three masterpieces - Where Am I? Who Am I? Why Am I?[27] (donated to the American Visionary Arts Museum by Adamson at its inauguration in 1995), I Spit On Life,] and A Ball of Twine and Other Nonsense.[] In 1984, when the Adamson Collection was exhibited as Selections from the Edward Adamson Collection, at the Art Gallery of Ontario, Adamson donated to the Ontario Psychiatric Association a large pencil drawing by Kurelek of one of the interiors of Netherne Hospital, showing a group of patients at leisure.......................By the end of
1956, Kurelek was working for F.A. Pollak Limited, an elegant framing shop near Buckingham Palace. He worked here for 25 months. Frederick Pollak, an Austrian Jew, who had fled from Germany in the thirties and settled in London in 1938 establishing his shop for the framing and restoration of antiques, had made frames for the Louvre.[26] Framing was an art that dated back to the Renaissance, and a single frame could cost thousands of pounds and require months of work. Pollak's became another school for Kurelek, where he learned the closely guarded secrets of gilding, which eventually found their way into his techniques as a painter. His apprenticeship at Pollak's, building and restoring frames, would serve him in a practical way until a few years before his death. When he returned to Canada in 1959, the Isaacs Gallery in Toronto immediately recognized the skills in framing that he had acquired in Europe. In later years, Avrom Isaacs commented that Kurelek would take more time building a frame than actually painting its canvas. Isaacs became Kurelek's agent for life; it was a business arrangement that remained unwritten. Glimmering Tapers round the Day's Dead Sanctities from 1970 is part of his Nature, Poor Stepdame series, and indicates that he was still building frames for his own paintings though quite renowned as an artist by this time.....................
Many have cited Hieronymus Bosch and Pieter Bruegel the Elder as influences for Kurelek's work in general, The Maze specifically.[27] In his account of the painting in his autobiography Someone with Me, Kurelek cites Jonathan Swift as a major influence on the work, as well as Shakespeare. Kurelek writes, "the psychological symbols of The Maze gradually shifted to more spiritual ones. They took on the appearance of Swiftian satire........................CANADA kanada powrot ..........Kurelek's first exhibition at the Isaac's Gallery was from March 26 to April 7, 1960. The show had 20 paintings. Among them, both his self-portraits (1950 and 1957); 3 Trompe-l'œil, paintings of a kind which had won him a place for three years in succession in the Royal Academy Summer Exhibition; Remorse from his hospital period; the Brueghel-like Farm Children's Games in Western Canada,[35] a forerunner of his children's paintings to come; Saw-Sharpener, a look at his days as a lumberjack; When I Have Come Back Home; The Modern Tower of Babel; Behold Man Without God,[36] this last reflecting the beginning of a change in attitude to prayer and the church. Though he was working on his The Passion of Christ According to St. Matthew[ series by this time, none of these religious paintings were included as they would be unsaleable. Canadian poet John Robert Colombo, for whom Kurelek had recently illustrated his first book of poetry, best describes the opening::::::::::::::: "
There were a lot of strange looking people, not the usual art crowd. Bill looked terribly out of place at his own opening. He had a reddish complexion and looked like a lumberjack; he looked as if he were in the wrong country, the wrong century, the wrong situation. It didn't look as if he had produced this work!"[] The Isaacs' popular opening nights drew city sophisticates, affecting the bohemian dress of their day. This time they contrasted sharply with Kurelek, his parents, and their Ukrainian friends...............................cd wikipedia
później odznaczony Orderem Kanady za twórczość artystyczną, jako młody człowiek został przyjęty do Szpitala Psychiatrycznego Maudsley, gdzie był leczony z powodu schizofrenii . the Maze, Passion of Christ series
W szpitalu namalował, produkując The Maze , mroczny obraz swojej torturowanej młodości . Został przeniesiony z Maudsley do Netherne Hospital od listopada 1953 do stycznia 1955, aby pracować z Edwardem Adamsonem (1911–1996), pionierem arteterapii i twórcą kolekcji Adamson.
the maze - The Maze (Canada, 1953), Gouache on board, 91 × 121 cm, Bethlem Royal Hospital in London"...............I had to impress the hospital staff as being a worthwhile specimen to keep on."[] The Maze was painted in gouache colors. Kurelek describes it as "a painting of the inside of my skull."[] That skull has been split open vertically to reveal various compartments inside. Through the eyes, nose, and mouth we can see the rest of the body lying in a wheat field...............
Inside the skull itself, each compartment holds a scrap of paper, representing a memory or thought. The center compartment, however, holds only a white rat, which represents Kurelek's spirit.] The rat is wound up and inert, having run through the maze of the skull chewing a piece of each scrap of paper and finding it undigestible...The skull in the painting has been opened up by ribbon, to suggest the work of the doctors at the mental hospital, attempting to make a proper diagnosis.
Kurelek depicted the rat spirit as inert, unwilling to leave his prison even though it has been opened up for him. This was Kurelek's way of showing his doctors what their job was. He writes, in his autobiography, "Now clean me out, I challenge you scientists, and put me back together again – a happy, balanced, mature, fulfilled personality. Lift that rat out and unwind him and let him run free!
Sztuka outsiderów - https://pl.qaz.wiki/wiki/Outsider_art
William Kurelek’s autobiographical painting The Maze was painted in 1953, when he was 26 and a patient at Bethlem’s sister hospital The Maudsley. The left hand section contains scenes from his past and present life forming a maze in which a white rat (representing himself) is trapped at the centre. On the right his view of the outside world is depicted
Tłumaczenie z języka angielskiego-„Maze” Williama Kurelka to film dokumentalny o życiu znanego kanadyjskiego artysty Williama Kureleka, „dramatycznie opowiedzianego poprzez obrazy i objawienia przed kamerą”. Film dokumentuje zmagania artysty z próbą samobójstwa i coś, co nazwał „kryzysem duchowym.
https://museumofthemind.org.uk/learning/the-maze
William Kurelek 1927-1977 The Maze
galeria kurelka
Edward Adamson (1911–1996), pionier arteterapii i twórcą kolekcji Adamso
