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.
Łódź Kinotechnical Works were established in 1945 and from the very beginning they specialised in the production of cinematographic projectors. Initially, these were large cinema projectors for 35 mm film tape and 16 mm film projectors, produced since 1948. At the turn of the 1950s and 1960s, a large number of cheap eight-millimetre film cameras, produced by the USSR, appeared in the country; therefore, the production of projectors for this width of film started in ŁKW.
The Narcyz projector was used to project slides framed in a standard 5 x 5 cm frame and was equipped with a bright EMITAR lens 1: 3.5, with a focal length of 75 mm. It was the first semi-automatic projector developed by Warsaw Photo–Optical Works in the mid-1960s. The projector had a mechanical forced cooling of the projection bulb, through a built-in fan, driven by an electric motor, and enabled slides to be displayed, then placed in a row magazine for 36 or 50 pieces. Despite the good lighting parameters and the possibility of long-term image display, the projector was not capable of remote control and therefore, in the 1970s, it was replaced by a fully automatic Diapol Automat.
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 the United States, Argus C-3 was one of the most popular miniature cameras. From the end of 1939 to 1966, the Argus plant in Ann Arbor (MI) produced almost two million copies. Due to its simple shape and considerable metal weight, the Argus gained the unofficial name “brick”.
The project Genderqueer was implemented by Lidia Krawczyk and Wojciech Kubiak in the period 2006–2008. The first comprehensive presentation of a series of paintings, photographs, films, and sculptures was the exhibition, Becoming, in Bunkier Sztuki Gallery (2008), which, at the same time, was the crowning touch for all the activities related to it. The themes of the exhibition focused on the topic of the constant need to declare one’s identity and sexuality. The subject of interest to the artists was an attempt to show the ambiguity of the relations formed between what is feminine and masculine. People who expressed their willingness to share their experiences, related to expressing their own gender identity that deviates from socially expected conventions and the traditional division of gender roles, have become the protagonists of images and photography.
As part of the project implemented in the Bunkier Sztuki Gallery, the Little Warsaw collective initiated a two-day public situation held inside the Gallery. For the performance, Gálik and Havas invited a group of over a dozen previously selected participants, with whom they commenced an artistic and research process. The latter referred to the titular Yellow House, which was the name locally assigned to the Lipótmező hospital, founded in 1868 in Budapest.