The sculpture has a uniform, dark brown colour. It depicts a nude youth and a boy, shown from the waist up. The youth stands at the centre, facing directly towards the viewer. The boy is positioned to the right, slightly concealed. The construction consists of two beams: one standing vertically, the other attached horizontally to its top. The figures are placed in front of the vertical beam. The surface of the sculpture is mostly smooth, while the area of the base from which the torsos emerge is rougher in texture.

The youth leans forward towards the viewer, his head extended. He has thick, short hair combed to the left. His face is slender and elongated. His eyebrows are raised, and his large eyes look forward and slightly upward. His nose is small and narrow, and his full lips remain closed. His cheekbones are prominent, with their line extending to the corners of the mouth. His shoulders are spread and lifted backwards, with the backs of his hands nailed to the horizontal beam. His fingertips curl slightly inward. On the inner side of his palms, at the centre, there are horizontal lines resembling wounds. His arms and torso are thin, with clearly visible bones and veins. His pose resembles that of a bird spreading its wings in preparation for flight. At the same time, it evokes the image of the crucified Christ.

The boy is positioned to the right, in front of the youth’s left shoulder but behind his forward-leaning head, which partially obscures him. He leans towards the youth. His hair is short. Only a small portion of the left side of his face is visible. He covers his mouth and nose with his left hand, while the upper part of his face is hidden behind the youth’s head. A furrow is visible on the left side of his forehead. His body leans to the left. With his right arm, he holds the youth’s head, placing his hand on its right side. Only the left side of the boy’s torso is visible. His body is emaciated, with visible bones and muscles. His posture suggests that he might be whispering into the youth’s ear.

The Vanguard was exhibited at the Krywult Salon in Warsaw in May 1903 and was met with acclaim by most critics. The sculpture may be seen as a reflection of the artist’s own sense of foreboding regarding his future. Rembowski struggled with an illness that prevented his artistic growth and momentum. At the same time, the sculpture may be interpreted as an expression of a young artist’s desire to strive toward new goals. Here stands a young man nailed to a horizontal beam, who, spurred by the whisper of a genius or a personification of this very idea, attempts a sudden movement forward, striving to break free from the bonds that restrain him in order to pursue goals that are new, great, and mysterious. His wide-open eyes, fixed straight ahead, and the focused expression on his face suggest a deep reflection on how to attain those goals.

Sources: texts by Irena Buchenfeld and Urszula Makowska on the sculpture The Vanguard

Audiodescription written by: Emilia Szymańska
Text consultation: Adrian Wyka
Expert content consultation: Irena Buchenfeld