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.
Portraits of the members of the Sanguszko family, one of the wealthiest and most influential families in the former Commonwealth, as well as of their closest relatives make a large group in the collection of the Museum in Tarnów. They were a part of the furnishing and decoration of palace interiors in numerous ducal mansions. The portrait presented here comes from Slavuta situated on the Horyn, one of the main rivers of Volhynia (Ukraine).
Pieter Brueghel the Younger (1564-1638) is known mainly as a copyist of his father's paintings, Pieter Brueghel the Elder (1525/30-1569), who was one of the greatest Dutch painters of the 2nd half of the 16th century. In his works, he created a coherent picture of nature and the world of people. The Kraków painting, the Preaching of Saint John the Baptist, was painted by Pieter Brueghel the Younger, based on his father's original from 1566, which is now in the Museum of Fine Arts in Budapest.
The picture was painted with oils on a wooden board. On the background of a landscape with a low horizon, two figures are depicted: a Guardian Angel and a child which he leads by holding its hand.
This icon is the oldest in the collection of Nowy Sącz. The exhibit was added to the collection in 1977, after a sale offer was made by people living in Nowa Wieś, on a farm which was assigned to Polish settlers after the deportation of the Lemkos in 1947.
The painting, Triptych of Saint Mary Magdalene, from Moszczenica Niżna near Stary Sącz is preserved in a rare state of completeness. The essence of the retable can be investigated based on this example. At the end of the 15th century, the retable constituted an expanded structure composed of an immovable main panel, the movable wings attached to it; a predella, which served as a basis for the wings, the main panel, and a finial.
The icon comes from an Orthodox church in Maciejowa, a village located between Nowy Sącz and Krynica. This type of presentation named Pokrov depicts the Mother of God, who is extending a veil over the world, which is hanging from her outstretched arms over figures clustered at her feet. Two legends are the sources of this theme.
The exhibit comes from an Orthodox church in Szczawnik, a village situated to the north of Muszyna. In the centre of the depiction there is a cross placed on a rock with a skull of Adam, the symbolic Golgotha.
The icon was originally located in an Orthodox church in Szczawnik, a village situated to the north of Muszyna. Its central part is filled with a whole-figure depiction of St. Michael the Archangel, shown en face, who is holding a sword up in his right hand; in his left hand, he is holding a scabbard. The figure is dressed as an armed warrior, with a short tunic, armour and a tied above his left shoulder.
St. Kinga was presented in art in two ways – as a young person in a rich princess’s costume or as an older nun in the Poor Clare habit. Jan Matejko made a deliberate statement of both conventions and portrayed St. Kinga at the age of around 60, in the princess’s robe and with attributes referring to her life at the Poor Clares Monastery (prayer book, crosier, view of the Monastery in Stary Sącz). The model for the character was Countess Katarzyna Adamowa Potocka, known from another portrait painted by Matejko – this time in a contemporary outfit.
St. Nicholas is one of the most popular saints in Rus and Greece. He was the bishop of Myra in Asia Minor. His iconic representation was shaped at the beginning of the second millennium. The complex series which illustrate his life come from the 12th century. In panel painting, the story of his life was presented in the strip surrounding the main field of the painting, containing several smaller paintings. The central figure of St. Nicholas was presented as an old man, in bishop’s attire, in the half-figure or full-figure portrait depiction.
A joyful scene of the adoration of the Child (with saints: John the Baptist, Francis of Assisi, Joseph and Catherine of Alexandria) is a hidden allusion to Christ’s future fate. The Child’s deep sleep may be associated with the Redeemer’s martyr death through ancient references — Sleep (Hypnos) in the Greek mythology is the brother of Death (Thanatos).
The painting was created on a rectangular board, closed from above by an ogee arch and encompassed with small pillars. The standing figure of John the Merciful has been placed in the background, pressed in the mortar (silvering and glaze with the motif of an outgrowing acanthus plant twine).
The picture is the only example of Gothic panel paintings in the collection of the Museum in Nowy Sącz and one of its most valuable exhibits. This is the upper part of the right wing of a small triptych from the mid-15th century.