Humanities & Social Sciences 5 (2015 8) 879-900 ~ ~ ~ УДК 7.01 Three Paintings by Zdzisław Beksiński: Making Art Possible “After Auschwitz” Natalia P. Koptseva* and Ksenia V. Reznikova Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 18.08.2014, received in revised form 11.11.2014, accepted 16.02.2015 The article is dedicated to the art work of one of the most signifi cant Polish surrealist artists, Zdzisław Beksiński. <...> The article reveals the main periods of the artist’s biography, lists the people of art who infl uenced the establishment of the author’s individual style and the art works Z. Beksiński preferred. <...> Special attention is paid to the dichotomy of form and content as well as Z. Beksiński’s original opinion of it: the artist believed that the major signifi cance was borne by the form, not the content: what he created was the form, while content is something contributed by the spectators. <...> The article continues with the review of three works by Z. Beksiński, leading to the following conclusion: in the situation when god has been crucifi ed but not resurrected, when the human loses his last hope for salvation, when his forces are a null in the face of an unknown but horrifying enemy; in the situation of the End of the World, the total night when the monsters (such as the monstrous words) come alive, the only thing left for a human is to remember of this situation at every moment of time, to understand the nature of words and the threat they present, to understand the mechanism of protection from them; to take care of the closest people, to protect them, thereby allowing neither themselves nor himself to turn into stone of the horrors the reality brings. <...> Art works by Zdzisław Beksiński are recognized as “theirs” © Siberian Federal University. <...> Beksiński’s art work is of global relevance; his creations are admired on all populated continents. <...> European, American, Asian fans of this Polish artist see him as a master adequate to our time, a rare artist who visualized the borderline between the physical Natalia P. Koptseva and Ksenia V. Reznikova. <...> It is also common to name the following <...>