[3] Marian Turwid was born on 28 November 1905 in Września, at the time located in the Province of Posen, Prussia.

After graduating from Września primary school, he studied at the gymnasium and then at the State Male Teachers Seminary (Polish: Państwowe Seminarium Nauczycielskiego Męskiego) in Gniezno: there he passed the matura exam in 1926.

He learned under the guidance of a number of professors, including Władysław Jarocki, Teodor Axentowicz, Xawery Dunikowski and Fryderyk Pautsch.

In 1935, he obtained professional qualifications allowing him to teach drawing in Polish in general secondary schools or as a state/private teacher in training seminaries.

He made various artistic trips to hone his painting skills: Paris (1936), Vienna, Berlin and Budapest.

In 1936, Marian Turwid joined the Grupa Plastków Bydgoskich, gathering local artists like graphic designer Stanisław Brzęczkowski, painter Władysław Frydrych and sculptor Teodor Gajewski.

[4] The main topic of his works was aiming at the issue of tradition versus present day in the Wielkopolska-Pomeranian region.

His identity reflects the 1930s local mood towards organizing an environmental culture in Bydgoszcz, open to national literary trends.

[5] In the first days of the German occupation, Marian was arrested by the Gestapo, who confiscated his studio with all his artistic works.

He was the lead editor of the cultural supplement Ilustrowany Kurier Polski, ordering articles from writers and scientists from all over Poland.

[10] He was a co-founder and chief editor of the journal Arkona, one of the first cultural magazines in Poland[11] along with the Lublin-based Kamena.

As far as his artistic side is concerned, Marian Turwid was rather prolific: out of his 189 works, 125 were displayed at exhibitions in Poland and abroad.

In the late 1950s, Marian co-initiated and managed with Andrzej Szwalbe the Bydgoszcz Scientific Society (Polish: Bydgoskie Towarzystwo Naukowe).