A portrait of Kazimierz Janota Bzowski, who died in 1862, the founder of the Droginia line of the Janot Bzowski family. The painting belonged to the Janot Bzowski family of Droginia. It was donated to the Museum by Witold Nekanda Trepka.
Portraits of the members of the Sanguszko family, one of the wealthiest and most influential families in the former Commonwealth, as well as of their closest relatives make a large group in the collection of the Museum in Tarnów. They were a part of the furnishing and decoration of palace interiors in numerous ducal mansions. The portrait presented here comes from Slavuta situated on the Horyn, one of the main rivers of Volhynia (Ukraine).
The representative room of the Bishop Erazm Ciołek Palace, known as the Room of Virtues, houses the gallery of old Polish portrait paintings that were common in the old Poland. For the nobility, their own images and depictions of their relatives and ancestors formed a vital factor for building family and social ties and documenting genealogy and affiliations.
Józef Chełmoński’s Team of Four is the best known and most frequently referred to example of peak achievements of naturalism in Polish paintings. This large-format canvas depicts a team of four horses tearing towards the viewers while driven with passion by a Ukrainian peasant. The animals, painted in their natural size, seem to be bursting the surface of the painting, causing the illusion of unstoppable, constant movement.
The image of an unknown young woman is an example of a coffin portrait: a special genre of portraits that emerged in close relation with the funeral customs in the Baroque period.
The painting shows Henryk Dembiński (1791–1864), a veteran of the Napoleonic Wars, an outstanding commander and strategist in the November Uprising, and one of the leaders of the Hungarian Revolution of 1848–1849, sitting thoughtfully, in a staff tent. Under a veiled curtain, a battle scene is visible in the distance. The painting symbolically refers to the work of the master Rodakowski, Léon Cogniet (1794–1880), who — after the failure of the November Uprising — painted the picture Prague 1831, showing a fresh battlefield and an officer standing in front of it, whose attitude and facial expression were marked by determination and a desire for revenge.
Pieter Brueghel the Younger (1564-1638) is known mainly as a copyist of his father's paintings, Pieter Brueghel the Elder (1525/30-1569), who was one of the greatest Dutch painters of the 2nd half of the 16th century. In his works, he created a coherent picture of nature and the world of people. The Kraków painting, the Preaching of Saint John the Baptist, was painted by Pieter Brueghel the Younger, based on his father's original from 1566, which is now in the Museum of Fine Arts in Budapest.
The artist plays the image off against the text. He juxtaposes images of people with information about their job and the situational context. By these means he creates multidimensional portraits of well-known media individuals.
[They realized that their capacity for not feeling lonely carried very real price, which was the threat of feeling nothing at all.] Four young people appear to be taking drugs in a forest. This suspicion is at odds with the ambiance of the attractive forest and sunlight filtered through the trees. An integral part of the painting is a poetic declaration which implies a risky experiment. It entails a statement of the absence of loneliness. However, the painted protagonists appear to be entirely lonely; they do not even notice their own presence. If so, they only have themselves to thank for their lack of loneliness.
Ogawa using the classic medium reproduces the work of the Dutch master Jan Vermeer's View of Delft. Realistic, 17th-century image shows a fragment of the city along the waterfront of the river Schie.
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.
The portrait presents Jan Sobieski (1629–1696) of the ”Janina” coat of arms, the son of the Kraków castellan and Teofilia née Daniłowicz. It is one of the rare images of Sobieski, the Grand Hetman of the Crown (1688) before his election for the King of Poland in 1674. Jan Sobieski, the hero of Chocim and Vienna, was born in the castle in Olesko, near Podhorce. He was the descendant of the famous hetman, Stanisław Żółkiewski.
The painting is a small, intimate image which belongs in a collection of the most exquisite portraits displaying an excellent characterisation of a Polish nobleman. The tawny face of the man endowed with great temperament, with a distinct nose and shiny lively eyes, reveals his high intelligence. The creator of this portrait was an anonymous artist, exactly as in the case of most “Sarmatian portraits.”
The oil painting—Oil wells in Lipinki—by Tadeusz Rybkowski was painted in 1894. Originally, it was hung at the manor of the Byszewski family in Lipinki, a town rich in oil deposits and well-known for its exploitation and processing of these resources.
Along with Stanisław Ignacy Witkiewicz and Zbigniew Pronaszko, Leon Chwistek is the main theoretician of the group of Formists who comprehensively analysed the theoretical fundamentals of art and tried to implement the theories he elaborated. Cubism and Italian Futurism were of significant importance in his paintings.
The preserved collection of paintings, called, The album of plants and animals, is identified as the representations of plants and animals which are known from a source text and were purchased for the School of Drawing and Painting by the painter Józef Peszka. A document has been preserved in the archives of the Jagiellonian University, in which Peszka enumerates the items purchased for the school in 1920. In the list, under number 7, he wrote: “A collection of oil-painted animals and birds and flowers on a thick folio paper 30 pieces PLN 540”.
The Museum of the Academy of Fine Arts in Kraków stores several landscapes of small sizes typical of the painter. The landscape painting, Giardino Guisti, depicts the famous gardens of the Pallazo Giardino Giusti in Verona.
Jan Stanisławski (1860–1907) is one of the greatest painters of the Young Poland period and an excellent landscape painter, known primarily for his miniature scenery painting. At the end of the 19th century, Stanisławski made numerous artistic journeys. He visited Italy, Spain, Switzerland, Germany, Austria and the Czech Republic. He also travelled many times to his homeland: Ukraine.
Jan Stanisławski (1860–1907) is one of the greatest painters of the Young Poland period and an excellent landscape painter, known primarily for his miniature landscapes. The Museum of the Academy of Fine Arts in Kraków stores several landscapes of small sizes typical of the painter. Among them is the painting entitled The Little Garden.