https://doi.org/10.21697/an.12129
Grzegorz Pecuch (1923–2008) belongs to the first generation of Antoni Kenar’s students, sculpture teachers at the State Secondary School of Art Techniques in Zakopane (along with, among others, Władysław Hasior and Antoni Rząsa). He was born and grew up in the village of Florynka, in the Lemko Region. As a mature artist, he repeatedly emphasized that his native land shaped his sensitivity and a special, close relationship with nature. Such statements of the artist and facts from his biography served in this article as an important con- text for an attempt to interpret the wartime period of his work. Two works by Grzegorz Pecuch were selected for the analysis – the sculptures Horse and Lion from around 1944, special objects created by the young artist during his stay in forced labour in Germany. Years later, Pecuch re- called that in those difficult times, sculpting allowed him to retain his humanity. Contact with wood evoked the memory of the Lemko region and family home. Creativity was an expression of disagreement and resistance to reality. When attempting to read the content of Pecuch’s wartime works, the concept of anthropological aesthetics was used, whose author – Magdalena Popiel, postulates placing the artist in the foreground of the researcher’s interests, and treats the analysis of autopoietic texts as basic research.
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