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.

The oil painting—Oil wells in Lipinki—by Tadeusz Rybkowski was painted in 1894. Originally, it was hung at the manor of the Byszewski family in Lipinki, a town rich in oil deposits and well-known for its exploitation and processing of these resources.

Utagawa Hiroshige occupied a special place in the collection by Feliks Jasieński: the collection gathered more than 2,000 woodcut boards by this artist. The abundantly represented landscape genre helps us appreciate Hiroshige as an artist who was considered to be the master of recreating the mood created by snow, rain and fog.

It is hard to imagine Zakopane and the Tatra Mountains without tourists. They cross the town and mountain trails with great enthusiasm. The landscape attracts crowds wishing to rest in the shadows of the cool mountains, as well as artists who find an inexhaustible source of inspiration in the overpowering nature. It is assumed that the first painter of the Tatra Mountains was Jan Nepomucen Głowacki (1802–1847) and the first Tatra-related painting is the “View of the Carpathian Mountains from Poronin”, dated 1836. Later this theme was taken up by other painters, like Aleksander Kotsis. It was with him that in 1860 Walery Eljasz took his first trip to Babia Góra from which he saw the Tatra Mountains. A year later he managed to visit them. Since 1866 the mountains became his true passion. Eljasz came from Kraków, from a family where painting and art were the order of the day.

The Museum of the Academy of Fine Arts in Kraków stores several landscapes of small sizes typical of the painter. The landscape painting, Giardino Guisti, depicts the famous gardens of the Pallazo Giardino Giusti in Verona.

Jan Stanisławski (1860–1907) is one of the greatest painters of the Young Poland period and an excellent landscape painter, known primarily for his miniature landscapes. The Museum of the Academy of Fine Arts in Kraków stores several landscapes of small sizes typical of the painter. Among them is the painting entitled The Little Garden.

The present picture shows a pastoral scene typical of the painter. The work is kept in a warm, narrow colour range dominated by bronzes. The weather, captured perfectly by the painter, evokes the impression of hot and humid August afternoons: dark, stormy clouds are hanging over the hot, steaming earth below which birds are flying, escaping from the impending storm.

The view shows the edifice of the city hall on the Main Square in Kraków, according to its state before its demolition in 1820. In the foreground, you can see the Renaissance part of the complex with the characteristic attic; on the left, the upper parts of the city hall tower. 

A view of the northern section of Kraków's defensive walls with the Barbican, the neck connecting it with Florian Gate and the towers, from the left: Karczmarzy I, Pasamoników, Stolarska and Ciesielska. On the far right is the one-storey Kleparz building.
The ring of fortifications, with wall towers and gate towers, surrounding Kraków, was built during the Middle Ages and became a characteristic element of the city's panorama. A significant part of the defensive walls was built at the turn of the 13^th and 14^th centuries. In the southern part of the city, they were probably completed in the1^st quarter of the 14^th century. From the mid-14^th century, the fortifications were maintained at the cost of the city and gradually expanded. o Craftspeople of various specialities were responsible for the direct care of their individual sections, from whom the names of the towers were derived.