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“Male nude figure” by Adam Ciopcio-Siemianowicz

Adam Siemianowicz (family name: Ciopcio) was born in 1902 in Orenburg on the Ural River in the Russian Empire. The future painter was the son of Szymon Ciopcio and Julia née Abramik, peasants from Podlasie exiled to the Urals in 1888. The boy began to paint while still in Orenburg. At that time, he usually painted postimpressionism-styled landscapes.

“Interior of Cracovian or Bronowice cottage”

The work is attributed to Włodzimierz Tetmajer or Henryk Uziembło. Both were fascinated by folk themes, which at the turn of the 19th and 20th centuries were a fashionable source of inspiration.

“Model worker” by Andrzej Wróblewski

The portrait entitled Model worker represents a man dressed in blue work clothes with the collar of a white shirt poking out. The model is rendered en trois quarts. His short hair is neatly combed, smoothly clinging to the head, and his face seems emotionless.

“Portrait of Wojciech Weiss” by Xawery Dunikowski

The portrait of Wojciech Weiss by Xawery Dunikowski is dated to 1910. It shows one of the most outstanding painters, draftsmen and Young Poland graphic artists, who is considered to be a representative of the expressionistic current in the art of this period. The portrait is made in a realistic manner and duly reflects the characteristic features of the artist (known from painted portraits and photographs). Young Weiss is a man with a slender face, high forehead and focused eyes.

“Study of a boy’s nude figure” by Tadeusz Okoń

The present, a painterly study of a boy’s nude figure was created by Tadeusz Okoń (1872 – 1957) during his studies at the School of Fine Arts in Kraków. Okoń was educated at the School of Fine Arts in 1887–1896 under the tutelage of Jan Matejko, Władysław Łuszczkiewicz, Leopold Loeffler and Teodor Axentowicz. He continued his education at the Vienna Academy of Fine Arts (1896), the Munich Academy of Fine Arts (1896–1898) and at the Académie Colarossi in Paris (1898–1900).

“Bust of the Girl” by Tadeusz Łakomski

Tadeusz Łakomski (1911–1988) during the period 1931–1938 studied at the Kraków Academy of Fine Arts under the direction of Fryderyk Pautsch and Wojciech Weiss. He also studied in Paris. He created wall and easel paintings, drawings and book graphics. He also produced caricatures, inter alia, of some the most outstanding artists of his time: Władysław Hasior, Tadeusz Kantor and Jerzy Nowosielski. Initially, his painting was influenced by the dominant colours of the Kraków Academy of Fine Arts. In the 1950s he introduced geometrical motifs and interpenetrating planes.

“Naked young man” by Stanisław Radziejowski

Stanisław Józef Rafał Dominik Radziejowski was born to a landowning family in Zegartowice near Wieliczka. He probably started studying at the School of Fine Arts in Kraków in the academic year 1874/1875 and he is thought to have only studied for one year. However, this information has not been confirmed. Certainly, Radziejowski studied at the School of Fine Arts during the period 1880–1885 and 1888–1891 in the composition department of Jan Matejko. During his studies, he received several awards...

“Child”, a sculpture by Wanda Ślędzińska

Wanda Ślędzińska (1906–1999), a sculptor and a pedagogue associated with the Academy of Fine Arts in Kraków for many decades. She started working at the academy as an assistant at Xawery Dunikowski’s studio. Ślędzińska was the first woman to become the head of the Faculty of Sculpture at the Academy of Fine Arts in Kraków. She held this post until she retired in 1970. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

“Portrait of a model” by Wanda Ślędzińska

Wanda Ślędzińska (1906–1999), a sculptor and a pedagogue associated with the Academy of Fine Arts in Kraków for many decades. She started working at the academy as an assistant at Xawery Dunikowski’s studio. Ślędzińska was the first woman to become the head of the Faculty of Sculpture at the Academy of Fine Arts in Kraków. She held this post until she retired in 1970.

“Self-portrait” by Wanda Ślędzińska

Wanda Ślędzińska (1906–1999), a sculptor and a pedagogue associated with the Academy of Fine Arts in Kraków for many decades. She started working at the academy as an assistant at Xawery Dunikowski’s studio. Ślędzińska was the first woman to become the head of the Faculty of Sculpture at the Academy of Fine Arts in Kraków. She held this post until she retired in 1970. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

“Bust of Julian Fałat” by Konstanty Laszczka

The bronze bust portrait depicts Julian Fałat (1853–1929), the successor of Matejko in the post of director of the School of Fine Arts and the first rector of the Academy of Fine Arts in Kraków. Fałat, who was appointed to the post of director of School of Fine Arts in 1895, carried out the reform of the university. He closed Matejko’s studio of historical painting and brought to Kraków a large group of professors representing new trends in art... Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

A plaque commemorating Jan Stanisławski by Konstanty Laszczka

The reliefs commemorating Stanisław Wyspiański (1869–1907) and Jan Stanisławski (1860–1907) are set at eye level in the wall by the landing of a staircase between the first and second floors of the main building of the Academy of Fine Arts in Kraków.

“Nudo” by Igor Mitoraj

The present sculpture was gifted to the Academy of Fine Arts by the artist himself, on the occasion of the university awarding him with an honorary doctorate in 2003. Simultaneously, a large exhibition of the sculptor’s works took place in Kraków. Igor Mitoraj (1944–2014) studied painting at the Academy of Fine Arts in Kraków under tutelage of Tadeusz Kantor. After graduation, he went to Paris, where he made his debut as a painter and graphic designer. Over time, the artist abandoned the arts he was trained in in favour of sculpture. He also gave up on following progressive trends in arts, and, since then, his artistic works represent realism inspired by the antiquity. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

A plaque commemorating Stanisław Wyspiański by Konstanty Laszczka

The reliefs commemorating Stanisław Wyspiański (1869–1907) and Jan Stanisławski (1860–1907) are set at eye level in the wall by the landing of a staircase between the first and second floors of the main building of the Academy of Fine Arts in Kraków. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

“A tondo representing three personifications of arts” by Stanisław Popławski

Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}The present plaque in the form of tondo is sometimes mistakenly described as a representation of The Three Graces. In reality, the relief depicts three personifications of art: painting (the woman on the left, holding a palette), architecture (the woman in the middle, holding a model of a building) and sculpture (the man holding the head of a statue). Inspired by ancient art, Poplawski used a characteristic composition typical of the depiction of the Graces, and the characters are represented as idealized nude figures.

“A Bust of Lenin” by Xawery Dunikowski

Xawery Dunikowski (1875–1964) is one of the greatest Polish sculptors of the 20th century. The present bust of Vladimir Ilyich Lenin comes from the post-war period in the artist’s work. After the WWII, the ideas of social realism carried Dunikowski away. However, ideological activities did not translate into the form of his works: he remained faithful to the expressive, simplified form he developed in the interwar period.

“For myself” by Konstanty Laszczka

Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}The present self-portrait, made of patinated bronze, shows the bust of the artist. Although the form of the sculpture is synthesized, the image is strikingly realistic: the sculptor managed to capture not only his appearance, but also the characteristic look in his eyes and tension of the facial muscles. The texture of the portrait is diverse.

A workbench for mural painting designed by Wacław Taranczewski

A wooden table on metal wheels, doubling as a palette for mural painting, designed by Wacław Taranczewski. In the years1948–1970, the artist held the post of a professor at the Academy of Fine Arts in Kraków, managing the faculty of decorative painting. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

Łukasz Surowiec, “Erwin, 48” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.

Łukasz Surowiec, “Eugeniusz, 63” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.