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Ben Hecht in his autobiography A Child of the Century describes the twenty-year-old Szukalski he met in as starving, muscular, aristocratic and smoldering with disdain for lesser beings than himself.
In fact he categorically loathed all art critics and invariably repaid their admirations with profound contempt; the result was a predictable dearth of career.
He continued to toil like a madman, producing one amazing work after another, confident that his artistic and intellectual supremacy would triumph over the cultural gag order that had been imposed on him.
In he was vindicated. There could be no greater honor for Szukalski, who considered himself to be Poland in miniature and whose heart yearned ceaselessly for his homeland and his people all the time he was in America.
Szukalski returned to the United States, there to spend the rest of his life in varying degrees of comfort until his death. He worked with fierce and single-minded devotion, indifferent to matters of personal comfort or nutrition.
When a stroke felled him on May 19, , at the age of ninety-three, Szukalski was still tremendously vital. At an age where the overwhelming majority of Americans are either dead or ruined, Szukalski was a veritable sprite.
He possessed an uncommon clarity of mind which age did nothing to obscure. He lived contently alone, walked considerable distances every day for exercise, and managed his own affairs.
He could subsist on a diet of cornflakes and water, and yet maintain such muscular strength that his arm felt like a piece of steel drainpipe.
Szukalski possessed a captivating Old World demeanor, and he spoke with a structured elegance that enabled him to put forth his complicated ideas with rich conciseness.
He moved along the uncultured slovens of Burbank like a nobleman among savages, anachronistically courtly and polite.
He saluted and bowed to men; he kissed the hands of women. A fire burned in his eye at all times, though his mood changed constantly.
He considered himself to be without antecedent or influences. Any suggestion that his work contained, for example, elements of Mayan art was soundly quashed.
He was serious about maintaining his claim to a pristine artistic bastardy; he intended to call his autobiography Self-Born.
During my first meeting with him he had me continually off-balance. What is your nationality? And yet we parted amiably and remained friendly until his death, because although his conviction that I was an inferior being was genuine, he did not hold that against me.
For my part I regarded him as a genius, and extraordinary man who had earned the right to have even his most outlandish notions treated with respect.
During the last decades of his life Szukalski yearned for recognition and exposure, for the admiration and support he had known so briefly and so belatedly and which was now utterly denied him.
He saw graffiti artists elevated to the status of exalted masters while he remained isolated from fame as if by an iron wall. Museum officials were never anything less than flabbergasted by the quantity and quality of the works.
Curators who condescendingly granted five minutes of their time to the book-carriers would end spending an hour or more pouring over the material, gaping in disbelief and trying to comprehend the fact that Szukalski was almost completely unknown.
But nothing ever came of these attempts! The curators ultimately handed back the books with polite thanks and said that they did not care to bring the works of Szukalski into their galleries.
Because he was too political, too opinionated, too naked, too crazy. Among his most strongly held and extensively documented theories was the notion that a race of malevolent Yeti have been interbreeding with humans since time out of mind, and that the hybrid offspring are bringing about the end of civilization.
As proof of this he pointed to the Russians. He also believed that heat causes gravity and that all modern languages derive from Polish.
He harbored sentiments that seem fascist and racist, and which were based upon his most patently absurd theories.
Szukalski said that his work was rejected because it was so powerfully informed by the tremendous passion he felt for his subjects.
I think he was to some extent right about this; however, it is evident that the major reason for his continued non-acceptance was that Szukalski simply refused to make himself palatable.
He held a lot of unpopular opinions and he saw no reason to keep them to himself. In fact, it was exactly at these moments when a little tactful reticence could have been greatly beneficial to his career that he was most voluble.
However, his success was criticized by the Polish press because Szukalski, representing Poland in the exhibition, did not even live in that country.
In , Szukalski published Projects in Design: Sculpture and Architecture , containing drawings that ranged from highly detailed ornamental architectural elements -fireplaces, doorways, and windows - to idealized city plans, bridges, tombstones and monuments befitting the heroes of Poland.
Ben Hecht , who had met Szukalski in , described Szukalski in his autobiography, A Child of the Century , "For twenty years my friend Sickness, poverty and hunger yipped everlasting at his heels.
Yet when I saw him in , I saw a man who had feasted on power and whose eyes smiled with triumph. In , Szukalski returned to Poland, supported financially by the Minister of the Treasury.
The government gave him a studio, the largest in Warsaw, and proclaimed it the Szukalski National Museum. During the siege of Warsaw by the German army in September , Szukalski was hurt in the initial bombing attack on Warsaw, which destroyed much of his studio.
With two suitcases, Szukalski and his wife took refuge in the US embassy, since both were American citizens. By early November they were among about Americans remaining in Warsaw.
Szukalski had come to Poland with all his unsold works, encouraged by the prospect of building a museum devoted to his art;  he left almost all of his work in Poland.
Most of what had not been lost in the bombing attacks was destroyed by the occupying Germans. In , Szukalski and his wife settled in Los Angeles.
Szukalski did odd jobs in film studios, designing scenery; occasionally sculpted; and did drawings.
In , Glenn Bray , a publisher who had previously specialized in the work of Mad Magazine artist Basil Wolverton , befriended Szukalski, and introduced many of his friends to Szukalski.
The Protong , in Those books led others, including George Di Caprio, to contact Szukalski; Di Caprio immediately became a close friend of Szukalski and his wife.
Gordon Bennett Cup from Beginning in , Szukalski devoted most of his time examining the mysteries of prehistoric ancient history of mankind, the formation and shaping of languages, faiths, customs, arts, and migration of peoples.
He tried to unravel the origin of geographical names, gods, and symbols that have survived in various forms in various cultures.
This work, called "Protong" in Polish, "Macimowa" , continued uninterruptedly for over 40 years. He wrote a manuscript of 42 volumes, totaling more than 25, pages, and including 14, illustrations.
Zermatism, Szukalski's concept of world history, postulated that all human culture derived from post-deluge Easter Island and that in all human languages one can find traces of the original, ancient mother-tongue of mankind.
In his view, humanity was locked in an eternal struggle with the Sons of Yeti "Yetinsyny" , the offspring of Yeti and humans, who had enslaved humanity from time immemorial.
He claimed that the figures of the god Pan on Greek vases depict creatures that actually existed, the product of Yeti apes raping human women.
Szukalski used his considerable artistic talents to illustrate his theories, which, despite their lack of scientific merit, have gained a cult following largely on their aesthetic value.
Bray and his wife Lena Zwalve maintain Szukalski's estate and the great bulk of his existing art under the name " Archives Szukalski.
Among Szukalski's admirers are Leonardo DiCaprio, who sponsored a retrospective exhibition entitled "Struggle" at the Laguna Art Museum in ;  the Church of the SubGenius , which incorporates the Yetinsyny elements of Zermatism;  and the band Tool , who recommended  "any collection of works you can find by this man is well worth the effort".
Szukalski's works are on permanent display at the Polish Museum of America in Chicago. From Wikipedia, the free encyclopedia.
Warta, Poland. Burbank, California , U. Main article: Adam Mickiewicz Monument, Vilnius. The Chicago renaissance in American letters: A critical history.
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