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.
A White headscarf tied into a bonnet for the Kraków costume, decorated with flat and punch embroidery. Two sides of the scarf are cut in an openwork teeth style with small holes, the other two sides are more richly decorated. Above the openwork teeth there is a frieze composed of hemstitched and punched cone motifs. Moreover, in the spaces between the cones, there are six-petal punched flowers and embroidered small branches with leaves.
A white headscarf tied into a bonnet. A white thin cloth; white, flat and punch embroidery. Two sides cut in teeth surrounded with one border of holes; two other sides cut in teeth with a triple border of holes. Between the teeth, bulky, there are spindle-shaped forms of holes. Between these forms is a six-petal flower with three berries and above them – a belt with motifs of “Turkish hearts.”
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.
Jacek Malczewski is a painter of the largest number of self-portraits in the history of Polish art. As was joked in a Green Balloon’s [Zielony Balonik] cabaret show in Jama Michalika, the artist represented himself “Once in a flat hat, once without that | Once as a professor, once as a lord (…) | Once in a sweater, and with a panther | With a tail or without one.”
Feliks Szynalewski was born in Kraków on 11 May 1825. During the period 1835–1837 he completed two classes of primary school for boys. Between 1837–1841 he attended three classes at St. Anna Middle School, and then he began to study at the Kraków School of Drawing and Painting. He was taught to draw by Jan Nepomucen Głowacki and Jan Nepomucen Bizański, to paint by Wojciech Korneli Stattler, and sculpture by Karol Ceptowski. During his studies, Szynalewski earned his wages by making lithographies.
Konstanty Felicjan Szaniawski was a Lithuanian referendary, and bishop of Kujawy and Kraków. Having been involved in politics, he participated in diplomatic negotiations and in domestic negotiations concerning army and treasury, aimed at calming the situation in the country. On his initiative, the seminary in Kraków was built and the Higher Theological Seminary in Kielce was established. He was one of the wealthiest bishops of the Polish-Lithuanian Commonwealth.
The presented image from the collections of the Museum of the Kraków Academy of Fine Arts is untypical of Wędrychowski. It presents an unspecified Polish legation in audience at the Sultan of the Ottoman Empire. The characters costumes and interior refer to the 17th and 18th centuries. The scene takes place in a faithfully devoted real interior – Arz Odası, the auditorium of the Topkapi Palace in Istanbul. MEPs according to the Turkish custom have their own costumes put on special caftans in which the deputies were dressed before visiting the grand vizier or sultan. This richly decorated attire was highly desirable by Polish visitors.
The presented portrait from the collections of the Museum of the Academy of Fine Arts in Kraków depicts an unidentified middle-aged man.
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.
Ján Kupecký was born in 1666 or 1667 into the family of a weaver in Pezinok, on the territory of today’s Slovakia. To avoid having to learn weaving, which his father insisted on, the young man ran away from home at the age of 15. In the castle of Holíč, belonging to Count Adam Czabor of Czabor (d. 1691), he met the Swiss painter Benedict Klaus, who was employed as a conservator in the residence.
The present portrait depicts the Markowski married couple: Józef and Maria née Langelot. The painting was created during the second period of Peszka’s artistic activity in Kraków (from 1813). Józef Markowski (1758–1829), portrayed together with his wife, was one of the most important Polish scientists of that time.
Among all the portraits created by Leon Wyczółkowski, his self-portraits occupy a special place. They not only reflect the artist’s appearance in different periods of his life, but also act as records of the painter’s changing personality and moods. They also document his artistic development. Wyczółkowski created several dozen images of himself using oil, tempera, pastel, and graphic techniques. His first works come from the 1890s. He kept creating until the end of his life...
Tadeusz Łakomski (1911–1988) during the period 1931–1938 studied at the Kraków Academy of Fine Arts under the direction of Fryderyk Pautsch and Wojciech Weiss. He also studied in Paris. He created wall and easel paintings, drawings and book graphics. He also produced caricatures, inter alia, of some the most outstanding artists of his time: Władysław Hasior, Tadeusz Kantor and Jerzy Nowosielski. Initially, his painting was influenced by the dominant colours of the Kraków Academy of Fine Arts. In the 1950s he introduced geometrical motifs and interpenetrating planes.
Jacek Malczewski, one of the most outstanding Polish Symbolism painters left a rich artistic legacy. The work of Malczewski is extremely extensive and multi-layered. His paintings present his personal desires as well as the national tragedy and traditions. Mythology intertwined with religion, folk motifs mixed with tale themes.
The head scarf was the most important and most valuable covering of married women; it was an indispensable element of women’s folk costume in Kraków. It was put on women for the first time during the traditional wedding ceremony called Oczepiny, to indicate the change in her marital status. Scarves were worn by married women throughout their entire future life.