The present plaster cast is a copy of an ancient Greek statue stored in the Louvre. The sculpture was discovered in 1875 on the sacred road leading to the heraion (temple of the goddess Hera) on the island of Samos. In 1881, the statue was appropriated and taken to the Louvre, where it is still currently stored (Inventory No. Ma 686). The plaster cast from the collections of the Museum of the Academy of Fine Arts was made in the Louvre, as evidenced by a metal plate with the inscription “Musée du Louvre” on the back of the plaster figure.
This double-barrelled flintlock was used as a prop in the School of Fine Arts in Kraków. The flintlock handgun shows many signs of usage...
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 chain with a cross was used as a prop in the Academy of Fine Arts in Kraków – at the school of historical painting of Jan Matejko.
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 painter Karol Kamieński, also mistakenly called Dominik, was the son of Maciej Kamieński, a Polish composer of Slovakian origin. We have sparse information about the artist’s life. What is known is that in 1792 he lived at Piwna Street in Warsaw. Thanks to the help of his father, he managed to find his way into the court of King Stanisław August Poniatowski.
The presented epaulettes were used as props at the Matejko school of historical painting at the Academy of Fine Arts in Kraków.
A gilded mace with a head consisting of six blades, probably a copy of a historical weapon serving as military insignia. It was used as a prop in the School of Fine Arts in Kraków and was presented in the still art painted by Tomasz Lisiewicz (1857–1930) and displayed in MVM (M 8).
The objects shown in the painting are props from Jan Matejko’s School of Historical Painting. Among the props painted by Lisiewicz, one can recognize the gilded mace presented on our website, which is still in the collection of the Museum of the Academy of Fine Arts in Kraków (Rz A 107).
Stanisław Bieńkiewicz (1855–after 1930) in 1871–1880 studied at the Academy of Fine Arts in Kraków under the direction of Jan Matejko. During the period 1889–1890, together with Józef Mehoffer and Stanisław Wyspiański, he worked on a polychrome of Mariacki Church in Kraków. Bieńkiewicz painted portraits, landscapes, historical, genre and religious scenes.
Samuel Hirszenberg studied at the Kraków Academy of Fine Arts under Feliks Szynalewski, Izydor Jabłoński, and Władysław Łuszczkiewicz since 1881. In February 1882, in the second term of his studies, being an extremely talented student, he was moved up to the second year by the professors. At the same time, he proved his abilities...
The original bronze statue of the Charioteer was found in 1896 under the sacred road in the area of the Sanctuary of Apollo in Delphi. It shows a charioteer. Next to the statue, there were also excavated fragments of the draft animals and a dedicatory inscription certifying that the statue had been part of a sculptural group funded by the Sicilian ruler Polyzalos.
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.
Music, punk culture, and art are among the interests of Konrad Smoleński, in which the experience of sound occupies a special place. The audio-performances implemented by him, jointly with Daniel Szwed, take the form of an anarchic bombardment of intense sound. The attack is carried out by BNNT: masked artists arriving in a black van whose image is associated with terrorists.
Anna Zaradny’s activities – as a composer, instrumentalist, multimedia artist – are strongly intertwined with the issue of polysensory stimulation. This aspect is especially characterized by two of them: Najsłodszy dźwięk krążącego firmamentu [The sweetest sound of a revolving firmament] (2011), a sound performative installation inspired by the figure of the medieval composer and mystic, Hildegard of Bingen, and Język Wenus [The Language of Venus] (2012), a sound and visual installation, referring to the author of piano compositions and pianist, Tekla Bądarzewska. In BruitBruit, the combination of musical and visual themes is also significant. This time, the inspiration for the artist was Krystyna Tołłoczko-Różyska (1909–2001), the architect and author of the Municipal Exhibition Pavilion in Kraków – the current Bunkier Sztuki Gallery of Contemporary Art.
The works made by Tomasz Baran seem to challenge the famous phrase emancipating the picture as an independent formal unit – they are a challenge to the flatness of the image and the order of colours that Denis recognized as one of the key properties. In his work, Baran analyses the issues of surface and colour, which are some of the basic elements building the form of the painting. By contradicting the traditional flatness of pictures, he brings painting closer to three-dimensional objects, he bends the loom, modifies the way it is attached to the canvas, trims painting edges in an irregular way, and creates spatial organisms by using them. In the work held in the Bunkier Sztuki collection, a sub-frame was created in a non-standard manner, which – apart from the place where canvas is stretched on a rectangular frame – was attached to two additional diagonally extending slats and to a cardboard layer covering the reverse of the painting, the elements inaccessible to the viewer’s eye. The outcome of this process is an uneven, spatial structure, consisting of convex and concave spots, usually absent from a smooth canvas plane.
The picture of Wilhelm Sasnal presents a view of the burning Concorde aircraft. The artist recreated the frame from an amateur film made from a car window, which was the only video recording of the disaster at Charles de Gaulle airport in Paris in 2000. Presented for the first time at the exhibition, Scene 2000, at the Ujazdowski Castle Centre for Contemporary Art in Warsaw, the picture is part of a series of canvases by this artist connected with the subject of disasters and accidents. Despite the fact that Sasnal created a few pictures concerning the subject of the Concorde catastrophe (shown in the Bunkier Sztuki Gallery at the exhibition POPelita), each of them should be perceived as a separate work, and not a specific work cycle. Sasnal’s deep fascination with recordings showing the course of the catastrophe may indicate the artist’s desire to reach the “truth”, to spot what was hidden under the layer of words, descriptions, and interpretations. This pursuit is driven by the awareness of the impossibility of achieving the goal.
Speed Graphic cameras were first used in the 1930s. During the following decades, American photojournalists used large, reporter cameras, equipped with a rangefinder, usually in the format of 3¼ x 4¼ inches or 4 x 5 inches. These were usually the products of the American label of Graflex photographic equipment. The history of this company begins in 1887, as the company of William F. Folmer and William E. Schwing, producing gas lamps and bicycles. Ten years later in New York, Folmer & Schwing Manufacturing Co. began the production of cameras, which soon became its main product. In the years 1907–1926, the company belonged to Eastman Kodak (F.&S. Division of Eastman Kodak Co.), based in Rochester. The manufacturing plants re-established themselves, taking the name Folmer Graflex Corporation, and then, in 1945, Graflex Inc.
In 1954, with the launch of production of a twin-lens reflex camera Start, the production of photo processing accessories commenced in the Warsaw Photo-Optical Works. One such device was an enlarger named Krokus. This name was given to subsequent models of enlargers produced until the 1990s. Enlargers of this family bore additional digital marking, e.g. Krokus 3, 4 N Color, 44, 69S, and were produced for various negative formats. Enlargers from Warsaw Photo-Optical Works satisfied the needs of amateur photographers in Poland and many other countries, being a perfect export product for years.