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 2^nd half of the 16^th 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.

Template texts contrast with simple, geometric forms. Apparently banal statements, with ironically erotic undertones, are an invitation to attempt their in-depth analysis so as to expose the social and cultural contexts.

Along with Stanisław Ignacy Witkiewicz and Zbigniew Pronaszko, Leon Chwistek is the main theoretician of the group of Formists who comprehensively analysed the theoretical fundamentals of art and tried to implement the theories he elaborated. Cubism and Italian Futurism were of significant importance in his paintings.

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).

The author of “Our Lady of Myślenice” is Sebastian Stolarski (1798-1875), a painter known in the region, whose works can be found not only in the “Greek House”, but also during a walk around Myślenice and by visiting nearby churches.
His works can be found in the parish church and on Stradom in Myślenice, as well as in churches in Wiśniowa, Zakliczyn, Trzebunia, and Skomielna Biała....

Why are there difficulties with dating Piotr Michałowski’s works?
As a wealthy person, the artist did not put his works on sale. Consequently, he did not put signatures or dates on his works, making it difficult to ascertain the chronology of their production.

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.

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.