Kantor perceived Velazquez’s Infantas as Madonnas and relics. Dressed in a kind of costume, they hide their rickety bodies underneath...
In many Polish Catholic homes, an image depicting the Holy Mary still occupies the most honourable place in the house. The belief in the miraculous power of a Marian image has survived to this day in many communities, especially rural ones. People pray to Mary every day, but also in times of danger, asking for support and protection...
The author of “Our Lady of Myślenice” is Sebastian Stolarski (1798-1875), a painter known in the region, whose works can be found not only in the “Greek House”, but also during a walk around Myślenice and by visiting nearby churches. His works can be found in the parish church and on Stradom in Myślenice, as well as in churches in Wiśniowa, Zakliczyn, Trzebunia, and Skomielna Biała....
A prototype of the woman behind the window in the performance The class has died was probably a drawing by Stanisław Wyspiański, published on the cover of Interiors by Maurice Maeterlinck (1901). The sketch was created as a playbill of the poster announcing a lecture by Stanisław Przybyszewski, connected with the stage...
The beginnings of tourism in the Tatra Mountains date back to the 2nd half of the 19th century. In 1873, Galicyjskie Towarzystwo Tatrzańskie [The Tatra Society in Galicia] was established with its aim of marking out routes, building mountain shelters, doing ethnographic research and describing the uniqueness of the area (maps were created and meteorological phenomena were observed). All this brought tourists to the mountain trails.
What is the origin of the identifiable chequer mark of the Polish Air Force? It all goes back to Lieutenant Stefan Stec, who painted a sign of a four-field chequer on the fuselages of two planes he navigated. Air Force Commander Lieutenant Colonel Hipolit Ossowski took a fancy to the sign to the point that...
Adoration of the Child was shown in Kraków for the first time in 1882. Under the painting, there is a plate with the name of the author — Gaudenzio Ferrari. As it turned out later, the exhibition organised as part of a charity campaign by Katarzyna Potocka contributed not only to increasing the funds of the Charitable Association…
The painting Adoration of the Child by Lorenzo Lotto presents a scene popular in the Renaissance, with the Mother of God and the Child on his knees and Saint John the Baptist, portrayed as a child, in the company of saints. This work — characterized by a deep passion symbolism — also has a political context, provided by the characters gathered on the painting.
An ancient historian from the 1st century — Pliny the Elder — in his 37-volume encyclopedia titled Natural history, compiled knowledge gathered from works of about 200 authors, thanks to which he preserved the echoes of lost writings and information about the Greek world for posterity, which included many stories concerning art. It was he who repeated the now famous anecdote about the dispute between Apelles — the greatest painter of his time — and another representative of this craft: Protogenes. Apelles — once he had heard of the fame of his competitor — went to Rhodes to see his works. However, he did not find the painter at home, while a board ready to be painted was set on the easel, watched by an old woman. When she asked Apelles who was visiting, the painter grabbed the brush and drew an extremely thin line through the centre of the painting, then he replied: “That’s who.”
This painting, characteristically shaped as a vertically extended rectangle, is a portrait of the artist's wife against a background of the interior of a summer apartment. This piece was created in 1904 in Zakopane, where the Mehoffers rented a newly completed wooden highland house for a few months.
The painter — a small-bodied young man with the look of an intellectual — represented himself in the form of a bust portrait in a foreground, against a neutral background. He looks at us attentively through his pince-nez. Although portrayed principally en face, he is marked by a lively posture, manifesting itself in an asymmetrical position of Mehoffer's shoulders, the artist's head being slightly turned to the right, with his face being somewhat turned in the opposite direction.
The pride of the palace in Slavuta was a small pastel portrait which presented a charming teenage girl. It depicts Teresa née Czartoryska, the daughter of Józef Klemens, the founder of the china manufacturing plant in Korets. The girl’s mother was duchess Dorota née Jabłonowska, who was famous for her beauty. The author of the portrait was one of the most outstanding French painters, Elisabeth Louise Vigee-Lebrun /1755–1842/.
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.
Wyspiański left twelve self-portraits. Every one of them is a fascinating record of the physical change and current emotional state of the artist according to his often-repeated belief stating that “man (...) changes irretrievably; they are changed by their experiences and thoughts. A portrait is a reflection of a moment, an artistic reflection seizing things in their very essence.”
Our Lady is shown as a half-figure. On her right arm we can see a baby Jesus pressing against her face. She is wearing a golden crown and her head is covered with a grey and silver scarf hemmed with gold. The coat is made in a similar design and it is additionally covered with golden lilies. Mary is grabbing the folded coat with her left hand.
The artist took the theme from the dialogue of the gods, placed in Virtus, a work of Leon Battista Alberti. Virtue wants to complain about Fortune and the plight of the humans, but Jupiter does not listen to her, as he does not want to enter into a dispute with Fortune. The painting, which is undoubtedly one of the most beautiful and interesting paintings, also in terms of iconography, was painted for Alfonso d'Este, Duke of Ferrara.
The portrait of Klementyna Countess Ostrowska, of the aristocratic Sanguszko family (1786–1841), was made around 1822. The author was Vincenzo Camuccini, a famous Italian artist, professor of the Academy of St. Luke in Rome. It comes from the palace of the Sanguszko family in Gumniska where, among a rich collection of works of art, there was also a collection of family portraits.
Kazimierz Boreyko is yet another interesting figure in the colourful procession of noble types in the Podhorce gallery. The nobleman depicted in this portrait was the son of Jan, the Pobersztyn starost and Katarzyna née Terlecka. He held numerous offices in the old Commonwealth. He was the lieutenant of the armoured chorągiew [banner] military unit in the fee tail estate of the Ostrogski family, master of the hunt in the Lviv Land, the standard-bearer in Latyczów as well as a deputy for Sejms [parliament].
The portrait depicts Seweryn Jan Rzewuski of the Krzywda coat of arms, a son of Stanisław Mateusz, the Grand Crown Hetman, an older brother of Hetman Wacław Rzewuski, and of Ludwika née Kunicka.
The portrait shows Teresa Karolina Radziwiłłowa, the daughter of the Grand Hetman of the Crown, Wacław Rzewuski and Anna née Lubomirska. From 1764 she was married to Karol Stanisław Radziwiłł, the voivode of Vilnius, popularly known as My Dear Sir [Panie Kochanku]. Divorced in 1781, she remarried Feliks Chobrzyński.