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 figure passes as the most perfect sculptural work of art of the so-called Beautiful style epoch (around 1400) within the Małopolska region. A repertoire of forms elaborated previously in stone sculptures was transformed into a wooden sculpture (so-called Beautiful Madonnas); characteristic cascades of folds at the sides, frontal folds running through Mary’s torso at a semicircle, shaping the letter V below, and even lower, on a pedestal spreading widely, as an optical base of the figure.
The sculpture depicts Madonna in a slight contrapposto pose, with her head tilted to her right arm, holding the Child, facing front, in her right arm. The hollowed out figure was probably intended to be attached to the niche of an altar retable.
This sculpture made of a single block of wood depicts the Virgin Mary with Child. The sculpture is unique as regards depictions of Madonna with Child in the folk art of the Kurpiowszczyzna region.
The folk sculpture Madonna and Child was made in the 19th century by a village woodcarver Jan Kluś of Olcza (originally, Olcza was an independent settlement, now it is a district of Zakopane). It belongs to the most outstanding sculptures in the collection of the Tatra Museum.
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 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.
A sculpture which was probably the central part of a winged altarpiece at first. There is a sitting Madonna on the right, holding a naked Infant Jesus in her lap. She is facing three Magi; two of them are standing while the third one is kneeling and touching the Infant Jesus’s hand. St. Joseph is standing behind Mary.
Our Lady of Mariazell is one of the most broadly used images of St. Mary that can be found in paintings on glass. Legend has it that in 1157 a Benedictine monk from the abbey in St. Lambrecht set out with his pastoral mission to the vicinities of this Austrian town. He was accompanied by the figure of Our Lady with Baby Jesus sculpted in the lime-tree wood.
The Our Lady of Ludźmierz painting on glass was painted in 1970 by Władysław Walczak-Baniecki (1930–2011), folk artist from Zakopane. It is one of three paintings of his on this theme included in the collections at the Tatra Museum. The other two were completed in 1967 and 1973. They were all painted according to one scheme developed by the artist and repeated in every painting, and they differ only in the colour scheme.
A wall sculpture hollowed out from behind. It depicts Mother of God in a gentle contrapposto, bent in the shape of a reversed “S”, wearing a gilded dress of a warm red tone as well as a gilded coat on a silver lining with an olive glaze. Mary has a veil and a crown on her head. In her right hand, Madonna is holding Infant Jesus in a gilded dress.
The sculpture is full-length and depicts Madonna in a long, floral-decorated dress in brown-red and navy-blue colours and with a gilded coat tied over her chest. Mary, tilted to the left, with her right leg bent in her knee, is holding a gold-plated sceptre in her right hand, while her left hand is holding the child with a book in its hands.
Feretron is a special type of paintings or sculptures with saints' that were used not only during the procession in church celebrations, but also as portable altars during pilgrimages.
The late-Gothic monstrance – silver and gilded – goes in harmony with the style of the church in Niepołomice, whose Gothic character was enriched with Renaissance Branicki’s chapel. The Renaissance motifs – floral and geometric ornaments, figures of saints, putti or coat of arms – look good on the medieval architectural design, decorated with delicate pinnacles and finials. The Branicki family was concerned about the church accessories of the parish church in Niepołomice, that is why church utensils, canonicals and liturgical vessels funded by them.
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.
Helena Dąbczańska is a famous Lviv collector of incunabula, engravings, books, drawings, fabrics and furniture; the owner of a private museum organized in her own villa and the hostess on artistic Sunday mornings for representatives of the Lviv elite at the turn of the 19th and 20th centuries.
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).