Sculptures made in salt are typical of mines in Wieliczka and Bochnia. In our portal they are represented by images of St. Kinga and St. Barbara. Salt is a difficult material. It is softer and more flexible than stone; however, on the other hand, salt blocks may have invisible cracks...
What tales were engraved on the surface of the goblet? Who are the characters depicted on the dish? Thanks to the 3D technique, by turning the goblet, you can read the entire biblical story recorded in the Old Testament Book of Judges. We invite you to read and wander through the details and secrets of this precious object.
Our Lady of Sorrows presented in the collection of Małopolska’s Virtual Museums is an example of a 15th-century religious sculpture from the Małopolska region...
The depiction of Christ in Gethsemane appeared three times in the works currently attributed to Veit Stoss. The theme itself is one of the scenes in the iconography of the Passion. It was widely used in the 2nd half of the 15th century in the art of South Germany. This event was described in the gospels of St. Matthew, St. Mark, and St. Luke. Christ is shown praying in Gethsemane (the olive garden) at the foot of the Mount of Olives in Jerusalem, accompanied by three sleeping apostles: St. John, St. Peter, and St. James.
The history of medieval reliquaries begins with the 62nd decree of the Fourth Council of the Lateran in 1215 where the issue of enshrining holy relics was raised. They were supposed to be enshrined and presented only in protective reliquaries. It was the reason why reliquaries took various forms throughout the centuries...
Konstanty Laszczka (1865–1956) seems to have been less famous than his contemporary Young Poland artists, with many of whom he befriended and portrayed in his works. Was his style not original enough?
Józef Szujski (1835–1883), born in Tarnów, was permanently associated with Kraków because of his life, academic work, and political activity. A pupil of the Saint Anna Junior High School in Kraków, he had shown many abilities since he was a child. He knew six foreign languages, wrote poetry, and, in later years...
The portrait of a head comes from a bust of a Roman woman who lived in the mid–3rd century. With a realistic expression of facial features, it depicts a middle-aged woman. The big eyes looking straight and thin, slightly tight lips suggest a firm character. The cheeks are fleshy but with visible zygomatic bones; the jaw is massive, with a clearly marked full chin. The hairdo expresses the fashion at the time, referring to a hairstyle introduced by Julia Domna, the wife of Emperor Septimius Severus.
The sculpture was purchased in Cairo from Albert Kohen by soldiers of the Polish Independent Carpathian Rifle Brigade during WW II. The head of the figure represents a young woman in a thick wreath of flowers. She has a fine coiffure of regularly arranged curls over her forehead, as well as along her cheeks, at the back they are formed into balls resembling grapes.
Feliks Jasieński (1861—1929), pseudonym “Manggha”, the outstanding connoisseur of art, patron and collector; he was broadly educated and talented musically. He exerted a considerable influence on the art culture of Kraków at the turn of the 20th century by his activity in the field of arts, his views, publications, and also by making the gathered collections available, including the rich collection of Japanese and Western European drawings and utilitarian objects from the Far East.
This is a trademark of one of the richest Olkusz gwarek, that is, entrepreneurs who organized the mining and production of lead and silver.
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.
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.
This three-coloured bowl on an annular foot, decorated with so-called negative painting, using wax as a reserve material, belongs to the pre-Columbian Carchi-Nariño highland culture from the border of today's Ecuador and Colombia, dating back to around 700 or 800 AD and 1500 AD.
The present plaster cast of an antique statue is a copy of the original marble statue kept in the Louvre (Musée de Louvre, Department of Greek, Etruscan and Roman antiquities, Inventory No. MR 315 (Ma 1207). In the seventeenth century, the statue was placed in the gardens of Pope Sixtus V in Rome, and then in Villa Montalto-Negroni. The statue was then deemed to be a likeness of Germanicus (Gaius Claudius Drusus Caesar Germanicus, 15 BC–19 AD). In 1685, through the agency of the painter Nicolas Poussin in Rome, it was purchased by the king of France, Louis XIV. Then it was restored by François Girardon (1628–1715) and placed in the Palace of Versailles, in the Hall of Mirrors.
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...
The sculpture was carved in green salt and represents Saint Barbara. The figure stands on a cubic pedestal.
The sculpture was carved in green salt and represents St. Kinga of Poland. The figure stands on a cubic pedestal and is 1.85 m tall (2.4 m including the pedestal). St. Kinga is dressed in a habit consisting of the long tunic girded with a rope with knots to which a rosary is attached, a short coat, covering for the head (for forehead, cheeks and neck) and a veil covering the arms.
Obesłanie of the guild of carpenters in Koszyce depicts an eagle on one side, and the Eye of Providence as well as carpentry tools on the other: a protractor, compass, plane and the inscription: “.Year. 1546 .”
Shrines and roadside crosses have become a permanent feature of the Polish landscape. One of the most frequently taken up folk themes by sculptors and most frequently encountered figures was — and still remains — the Pensive Christ. The attitude of the suffering Christ — who is lost in reverie — was close to the faithful, recognizing the enormity of human affairs and miseries in his concerned face. The vitality and frequency of this image is an example of attachment to a certain representational tradition. In Christian terms, it was symbolic and carried deep passion, but now is no longer fully readable.