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Wojciech Gilewicz, “Revitalisations”

The project, Revitalisations, was implemented Wojciech Gilewicz in Sanok in 2007. The long-term marginalization of the city and its exclusion from comprehensive modernization projects prompted the artist to undertake his own, non-standard intervention, using the illusionistic potential of painting. The intention of the action was to repair the visual deficiencies of the urban fabric, to supplement its defects with the help of images, and by doing so, lead at least its temporary and provisional revitalization. During the artist’s several-week work in the public space of Sanok, pictorial mock-ups of reality covered the progressing degradation and neglect of buildings and streets. They replaced missing tiles of wall claddings, hid glaring dirt and lichen on elevations, filled plaster gaps, fitting perfectly into their shape.

Wilhelm Sasnal, untitled

Wilhelm Sasnal’s painting depicts, in a one-to-one scale, a 43-cm metal object, which comes from the hull of the continental aircraft which caused the crash of the Air France Concorde in 2000. Presented for the first time at the exhibition, Scene 2000, at the Ujazdowski Castle Centre for Contemporary Art in Warsaw, the picture is part of a series of canvases of the artist, connected with the subject of disasters and accidents. A few of them refer directly to the events related to the Concorde: apart from the two paintings belonging to the collection of the Bunkier Sztuki Gallery, the canvas is also divided into nine sections presenting the individual stages of the plane’s explosion.

Wilhelm Sasnal, untitled

The picture of Wilhelm Sasnal presents a view of the burning Concorde aircraft. The artist recreated the frame from an amateur film made from a car window, which was the only video recording of the disaster at Charles de Gaulle airport in Paris in 2000. Presented for the first time at the exhibition, Scene 2000, at the Ujazdowski Castle Centre for Contemporary Art in Warsaw, the picture is part of a series of canvases by this artist connected with the subject of disasters and accidents. Despite the fact that Sasnal created a few pictures concerning the subject of the Concorde catastrophe (shown in the Bunkier Sztuki Gallery at the exhibition POPelita), each of them should be perceived as a separate work, and not a specific work cycle. Sasnal’s deep fascination with recordings showing the course of the catastrophe may indicate the artist’s desire to reach the “truth”, to spot what was hidden under the layer of words, descriptions, and interpretations. This pursuit is driven by the awareness of the impossibility of achieving the goal.

Triptych “Family of Mary” from parochial church in Racławice Olkuskie

In the middle part of the triptych, the so-called “family of Maria” has been introduced, a multi-person image, based on the legend of the triple marriage of St. Anna (the Baby Jesus is standing on her knees) and the Blessed Virgin Mary are sitting on the bench in the centre of the painting. Behind the bench and St. Anna...

Tomasz Ciecierski, “Painter’s Palette”

A witty and ironic treatment of the colour-cum-symbol means available to painting. The artist plays with the shapes of splashes of colour, approaching colour in a free-flowing style. Sometimes, such splashes mean no more than the colour itself; at other times, they stand for an art trend or an object. Through such a naive colour game, one discovers the rich and diverse idiom of painting.

Tomasz Baran, untitled

The works made by Tomasz Baran seem to challenge the famous phrase emancipating the picture as an independent formal unit – they are a challenge to the flatness of the image and the order of colours that Denis recognized as one of the key properties. In his work, Baran analyses the issues of surface and colour, which are some of the basic elements building the form of the painting. By contradicting the traditional flatness of pictures, he brings painting closer to three-dimensional objects, he bends the loom, modifies the way it is attached to the canvas, trims painting edges in an irregular way, and creates spatial organisms by using them. In the work held in the Bunkier Sztuki collection, a sub-frame was created in a non-standard manner, which – apart from the place where canvas is stretched on a rectangular frame – was attached to two additional diagonally extending slats and to a cardboard layer covering the reverse of the painting, the elements inaccessible to the viewer’s eye. The outcome of this process is an uneven, spatial structure, consisting of convex and concave spots, usually absent from a smooth canvas plane.

The “Christ on the Cross” icon

Helena Dąbczańska is a famous Lviv collector of incunabula, engravings, books, drawings, fabrics and furniture; the owner of a private museum organized in her own villa and the hostess on artistic Sunday mornings for representatives of the Lviv elite at the turn of the 19th and 20th centuries.

Red-figure pelike

The clay red-figure vessel comes from Kerch — a Greek colony situated on the Black Sea. It was made in the so-called Kerch style and is dated back to the 4th century BC. The edge of the vessel is trimmed with an ornament of an egg-and-dart encircling the figural scene. On the one side there is Arimaspian fighting with a gryphon. The warrior is dressed in a tunic and trousers — anaxyrides.

Procession float, obverse: “Heart of Our Lady”, reverse: “Heart of Jesus”

Set on a profiled base with bar holes is a picture painted on both sides of a board, presented in a simple frame, flanked with a wavy ribbon on the sides and topped with a decoratively cut peak with a cross. The structure of the procession float is painted with oil based cobalt paint.

Portrait of Rev. Franciszek Siarczyński by Karol Schweikart

The portrait was based on the lithographic image of Franciszek Siarczyński (1758–1829) – a priest, historian, geographer, journalist, librarian and first director of the National Ossoliński Institute in Lviv.

Porcelain pouncet-box with a landscape

The porcelain pouncet-box with a lid equipped with a handle has the shape of a rosette. Golden leaf-covered branches have been painted on the lid and a relief ornament resembling fluting has been placed on its sides.

Porcelain pouncet-box with a hand-painted court scene

The porcelain pouncet-box is octagonal in shape. On the outside, all of its sides are painted in dark blue and decorated with an ornament composed of a stylized floral tendril with flowers, painted with gold paint using the impasto technique. The interior of the pouncet-box is white.

Pola Dwurnik, “Mercy!”

Twenty four colour self-portraits stand out from the crowd sketched in the background; each face plays out the spectacle of a different personality.

Piotr Lutyński, “Bird column”

The work The Bird Column was created in 2003 in the Bunkier Sztuki Gallery and functioned as an exhibition in the process. The titular Bird Column, called by Lutyński “an animated sculpture” and “a large nest full of birds”, took the form of an installation: it was a developed construction, inside which there were paintings and objects made of wood and the birds, whose singing was heard throughout the Gallery from microphones placed nearby. In the next room, there was a goat with its kids. The whole exhibition was accompanied by texts referring to the teachings of St Francis of Assisi, the patron of animals, ornithologists, and bird breeders.

Paweł Susid, untitled [“Ladies and you girls, in bathroom and the lavatory you touch places that are dear to us”]

Template texts contrast with simple, geometric forms. Apparently banal statements, with ironically erotic undertones, are an invitation to attempt their in-depth analysis so as to expose the social and cultural contexts.

Paintning “Ahasuerus” by Maurycy Gottlieb

The composition presents a young man with oriental facial features, emanating with sorrow and suffering. He is wearing a decorated dark robe, a royal diadem on his head, and a gold earring in his ear. The painting, in dark tones, was brightened with patches of amber colours for the fragments of the face and shoulders as well as with warm reds for the background.

Painting on glass “Our Lady with Child of Mariazell”

Our Lady of Mariazell is one of the most broadly used images of St. Mary that can be found in paintings on glass. Legend has it that in 1157 a Benedictine monk from the abbey in St. Lambrecht set out with his pastoral mission to the vicinities of this Austrian town. He was accompanied by the figure of Our Lady with Baby Jesus sculpted in the lime-tree wood.

Painting on glass “Our Lady of Ludźmierz” by Władysław Walczak-Baniecki

The Our Lady of Ludźmierz painting on glass was painted in 1970 by Władysław Walczak-Baniecki (1930–2011), folk artist from Zakopane. It is one of three paintings of his on this theme included in the collections at the Tatra Museum. The other two were completed in 1967 and 1973. They were all painted according to one scheme developed by the artist and repeated in every painting, and they differ only in the colour scheme.

Painting on glass “Highland robbers — welcoming of Surowiec”

The collection of historical paintings on glass in the Tatra Museum includes 459 paintings. Most of them are paintings on sacral themes that performed religious and decorative functions in the highlanders’ rooms. Only thirteen of them are secular images. Nine of them are devoted to the scene drawn from the bandit’s legend when Janosik’s fellowship receives a new companion who shows off his agility and, while jumping over a bonfire, simultaneously cuts the tip of a spruce with a shepherd’s axe and shoots off the tip of a fir–tree with a pistol held in the other hand.

Painting “White and red” by Tadeusz Brzozowski

It can be boldly stated that the famous “Z. village” has always been known as a place where the human species known as artists are present in unprecedented density. The majority of respondents to the question: “Who do you associate Zakopane with?” would reply “Witkacy”.