The works of art which went missing from the Municipal Museum in Bydgoszcz during and shortly after World War II included paintings and graphic works from Leon Wyczółkowski, one of the leading representatives of realistic painting of the Young Poland period.
The 6 m wide by 3.5 m high painting in the city’s Rue de Montmorency, shows street artist Pascal Boyart’s "Pensées du bouffon rouge" (Thoughts of the red jester) which he calls a “reprise” of Matejko’s famous Stańczyk painting “with a few additions from our time”.
Famed for his urban landscapes, Tytus Brzozowski is now working on a project to paint 13 cities with a Polish connection.
Chełmoński’s ‘Four-In-Hand’, considered to be the peak achievement of naturalism in Polish painting, is so big that instead of moving the paining the specialist work is being carried out on-site making it a unique opportunity for art lovers to see and learn about state-of-the-art restoration techniques.
The gallery under the hashtag #poznajdziełaodzyskane invites social media users to see and learn about how Poland managed to regain formerly lost works of art.
After painstakingly piecing together the provenance of the Lamentation of Christ by the School of Lucas Cranach the Elder, officials said they are now certain that it was stolen from Poland in the wake of World War Two.
The painting was held in the collections of the National Museum in Warsaw before the outbreak of the war. It will now be kept in strict quarantine for a week before undergoing conservation and taking its place in the gallery among other paintings by Malczewski.
The 130x92cm oil on canvas of Professor Karol Gilewski disappeared for 100 years after it was shown at an exhibition of Polish art in Vienna. It reappeared in 2015 at an auction in Vienna’s Dorotheum where a private buyer purchased it for 280,000 euros.
An artist whose work went viral last year after he transferred the urban concept of street art to the Polish countryside is back in the news after revealing the fruits of his latest endeavour at the historic Modlin Fortress.
Using oil on canvas, Ewa Juszkiewicz replicates the rich colours and textures of original portraits, extending this to the features she has added covering the women’s faces.
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