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 a painting depicting a garden in Dębniki near Kraków.
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.
The objects shown in the painting are props from Jan Matejko’s School of Historical Painting. Among the props painted by Lisiewicz, one can recognize the gilded mace presented on our website, which is still in the collection of the Museum of the Academy of Fine Arts in Kraków (Rz A 107).
The present picture shows a pastoral scene typical of the painter. The work is kept in a warm, narrow colour range dominated by bronzes. The weather, captured perfectly by the painter, evokes the impression of hot and humid August afternoons: dark, stormy clouds are hanging over the hot, steaming earth below which birds are flying, escaping from the impending storm.
Ferdynand Bryll, painter, portraitist, conservator and illustrator, was born in 1863 in Kraków. During the period 1876–1884 he studied at the Kraków School of Fine Arts. In the course of his studies, in 1882, at the request of Jan Matejko, he assisted Henryk Rodakowski during his work on the frieze in the parliamentary chamber in Lviv. Even before his studies, he learned towards portrait painting at the studio of Andrzej Grabowski, which opened in Kraków in 1855.
The presented oil male nude figure was created by Jasiński – then a student at the School of Fine Arts in Kraków – in Florian Cynka’s studio in 1884. He was awarded by the university for this work.
This is a view of a part of Mikołajska Street, closed by Mikołajska's Gate. On the left, you can see the characteristic window grates and the gutter protruding on the street, and, on the right, a fragmentary view of the Church of Our Lady of the Snows in Gródek can be seen. The gate is covered with a tent roof with a break—the hole in the base is topped with a sharp arch.
The view shows the edifice of the city hall on the Main Square in Kraków, according to its state before its demolition in 1820. In the foreground, you can see the Renaissance part of the complex with the characteristic attic; on the left, the upper parts of the city hall tower.
Stanisław Bieńkiewicz (1855–after 1930) in 1871–1880 studied at the Academy of Fine Arts in Kraków under the direction of Jan Matejko. During the period 1889–1890, together with Józef Mehoffer and Stanisław Wyspiański, he worked on a polychrome of Mariacki Church in Kraków. Bieńkiewicz painted portraits, landscapes, historical, genre and religious scenes.
The portrait shows a young woman in a blue, silken lace dress. She is leaning on a stone windowsill, on which a basket of flowers is situated. She is wearing a high, powdered hairdress, tied with a ribbon, as well as pearl jewellery. Her left hand is decorated with a bracelet with an engraved gem styled to resemble antique jewellery. In her right hand, the woman is holding an orange blossom.
Wernyhora – a Ukrainian lyricist and bard, according to some a legendary person, according to others a historical person living in the second half of the 18th century – became famous for political prophecies regarding the fate of the Polish-Lithuanian Commonwealth and Ukraine. He was supposed to have foreseen the bloody Cossack rebellions, the partitioning of Poland, the unsuccessful national liberation uprisings and the revival of the Polish statehood.
Alfons Borkowski (1850–1918), after finishing studies at the Wojciech Gerson School of Drawing in Warsaw (1876–1879), continued his education at the School of Fine Arts in Kraków, where in 1879–1887 he studied under Władysław Łuszczkiewicz, Leopold Loeffler and from 1882 with Jan Matejko for three years. The artist’s talent was already appreciated during his studies.
Little is known about the life and artistic work of Bronisława Galiczanka (Bronisława Olga Galica) and her achievements are limited to a few student works. She was born in Czertez near Sanok in 1902. She was registered as a student at the Academy of Fine Arts in Kraków during the years 1924–1928. She was educated in the studios of Władysław Jarocki and Fryderyk Pautsch, and her work was then recognized and awarded...
Twenty four colour self-portraits stand out from the crowd sketched in the background; each face plays out the spectacle of a different personality.
The present Study of the nude figure of a standing woman was created during Malcher’s studies at the academy in Kraków. The post-impressionist style and vivid colouration of the image testify to the impact that the works of both his university masters exerted on the artist.
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).
Above all, Olga Boznańska is a portraitist, an artist of portraits painted in muted colours, sometimes almost monochrome. The figures in her paintings are usually represented indoors, against a neutral background constructed with diffused and subdued lighting, subtly defining the space and imparting her paintings with an aura of the unreal.
The painting was a response to Martial Law in Poland. It shows an imaginary city, which – as is the case with the majority of Dwurnik’s paintings – we view from above. At first glance, everything seems tranquil, stable and safe. Only a searching examination reveals the drama of a city taken over by the army.
An anonymous, undated work that refers to the tradition of 17th and 18th century painting – both in terms of form and composition.
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.