Born in Przemyśl, Feliks Michał Wygrzywalski (1875-1944) arrived in Lviv at the age of fourteen to continue his studies at the Higher Normal School. In the city he found his vocation, developing an interest in art. His first objects of admiration were the works of Jacek Malczewski and Henryk Siemiradzki, and the final confirmation of his passion was said to have been seeing the "Panorama of Racławice" created in 1893-1894 by a team of artists under the direction of Jan Styka and Wojciech Kossak for the General National Exhibition in Lviv. At the same time Wygrzywalski, thanks to a scholarship from the Malinowski Foundation, undertook artistic studies abroad, initially at the Academy of Fine Arts in Munich, and later in Paris and Italy. In Rome, where he settled in 1900, he was involved in copying the works of old masters such as Caravaggio, Raphael and Titian, as well as creating nudes and landscapes. He then specialised in maritime motifs, which became an important element of his work right up to the end of his artistic activity. During summer expeditions to the Bay of Naples, the painter produced his first works with social themes in addition to impressionistic, sketch-like sea views. These included paintings of fishermen at work, pulling in their nets, rowing or fighting the elements.

A breakthrough in his career came with the triptych 'Liberation', which was the artist's reaction to the events of the 1905 Revolution. Reports of brutally suppressed workers' strikes had a strong impact on the emotions of the socialist-minded artist, while the ensuing political changes revived his patriotic hopes of regaining independence. He followed these events while still living in Italy, which is perhaps why he set the monumental allegorical work he dedicated to them in a mythological context, creating a symbolic representation of man's universal quest for freedom.

The central scene of the triptych alludes to the story of Prometheus, showing a naked young man standing on a cliff and an eagle hovering over him. The serenity with which the hero awaits his impending doom is emphasised by the idyllic seascape in the background and the colourful flowers and pigeons symbolising peace at his feet. The mythical rebel is, as in Percy Shelley's 'Prometheus Unleashed', the embodiment of the human struggle against all forms of enslavement arising from state control, religion or class divisions. The antique theme of the central scene only seemingly contrasts with the contemporary issues illustrated on the side panels of the triptych. The left wing shows burlaks, or river workers engaged in towing ships on ropes. The painter had tackled this subject before, seeing in their superhuman effort the embodiment of exploitation. The men's backs crestfallen under the weight, their heads downcast, testify to their surrender to a harsh fate. But the scene on the right wing already foreshadows revolutionary determination by showing workers from the steelworks who, armed with tools and makeshift weapons, set off to fight to change the world as they know it. In the composition of the triptych, the artist has masterfully combined symbolism with classical aesthetics. The body of Prometheus is idealised, which alludes to the ancient tradition of depicting heroes, but the side scenes are already dominated by realism, the emphatic nature of which is further emphasised by the use of strong chiaroscuro contrasts. This work was groundbreaking not only for Wygrzywalski's career, but also for his style. For it combined decorative painting with a profound philosophical message, which would later become a characteristic feature of the artist's work.

The triptych brought Wygrzywalski recognition and recognisability. Exhibited in the year of its creation at the National Gallery of Modern Art in Rome, it was a huge success and received positive reviews. In panegyric-like press reports, the work, described as an 'oratorio of naked bodies', was praised for its monumental character, its ability to depict the naked human body, but above all for its accurate commentary on the current socio-political situation in Europe. The Italian, German and Russian press praised both the painting's aesthetics and its profound meaning. Also in Lviv, where the artist was remembered, the work was appreciated. Thanks to the initiative of Archbishop Jozef Bilczewski, a collection was organised to purchase the painting for the National Gallery of the city of Lviv. The ceremonial transfer of the acquisition to the city's public collection took place on 29 September 1905, confirming the artist's recognition in Galician circles.

Perhaps for this reason, a few years later, after leaving Italy, the artist decided to settle in Lviv, where he remained permanently, except for the period of the First World War spent in Russia. In Lemberg he won a commission to decorate the walls of the Chamber of Commerce and Industry, and was also involved in theatre scenography. He participated in numerous group exhibitions, and in 1932 presented his works at an individual exhibition at the Society of Friends of Fine Arts. In the interwar period, he also ran the "Kunstaustellung" - Art Salon located at 23 Akademicka Street, where he sold his own and other artists' paintings.