Jan Matejko's palette  is one of eight preserved in the collection of National Museum in Kraków. Is exhibited in the artist's studio in The Matejko House.
Oval, made ​​of walnut, with two metal utensils. On the surface of the pallet are visible, dried-on paint used by the artist in a wide range of colors.

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.

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.

Twenty four colour self-portraits stand out from the crowd sketched in the background; each face plays out the spectacle of a different personality.

Józsefváros, the Budapest district no. 8 still carries the marks of having been bombed during World War II and the Hungarian Uprising of 1956. The buildings which are no longer there are conspicuous for their absence. For Nemes, these void spaces are more authentic than the buildings which are there, because their appearance has not changed in half a century. The levitating residents are a metaphor for all his compatriots – distrustful, introverted, alienated.

This consists of an oval shield, which decorated the entrance to the municipal council of Gorlice from the turn of the 19th and 20th centuries.
The shield has numerous bullet holes, being clear evidence of the battles which took place in the city and its surroundings for six months, at the turn of 1914 and 1915.

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions.