Krakow as a tourist centre is usually associated with im-portant historic monuments, connected with the his-tory of the city and Poland. Wawel, the Barbican and St. Florian’s Gate, the Main Market Square with St.Mary’s Church and the Cloth Hall, as well as Collegium Maius of the Jagiellonian University, are the main tourist at-tractions.

Krakow also features numerous museums with rich, often little-known collections. Tourists, both those who have already visited Krakow before and those who haven’t, are also invited to get to know the museum collections. Many collections may suit the tastes of visitors with spe-cial interests, be attractive to hobbyists or people inter-

ested in the history of a particular age.

In the present publication we would like to invite you to vis-

it the museums whose collections present the colourful

age of fin de siècle rooted in Krakow history, the Young

Poland period art of Wyspiański and Mehoffer, the ar-

chitecture of Stryjeński and Mączyński, and the history

of cabaret in “Jama Michalika”.

the art of Young Poland, stained glass National Museum in Krakow

MainBuilding 3

TheWyspiańskiMuseum intheSzołayskiHouse 7

TheMehofferHouse 10

StainedGlassMuseum(S.G.ŻeleńskiKrakowStainedGlassWorkshop) 12

TheSewerynUdzielaMuseumofEthnographyinKrakow 18

StaryTheatreMuseum 21

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National Museum in Krakow Main Buildingal. 3 Maja 1

Opening hoursTuesday – Saturday: 10.00 a.m.–6.00 p.m.Sunday: 10.00 a.m.–4.00 p.m.Monday: closedFree admission to permanent exhibitions on Sundays.www.muzeum.krakow.pl

The Main Building was built with pauses in 1934–1989,according to theprojectofCzesławBoratyński, EdwardKreisler and Bolesław Schmidt. It houses three perma-nentexhibitionsoftheMuseum.The20thCenturyPolishArtGalleryisthelargestexpositionofitskindinPoland,whereonecangettoknowthechosentrendsofPolishartofthelastandthecurrentcen-tury, from Young Poland tothe present times. TheGallery of Craftsman-ship is thegreatestpermanent exhibi-tion of its kind inPoland. The collec-tionpresentedhereshowstherichnessofPolish and Western-Eu-ropeancraftsmanship,fromtheearlyMiddleAgestothetimesof theSecession. It issupplementedbyanimpres-sive collection of Judaica.The Arms and Colours inPoland Gallery presentssome of the greatest andmostpreciousofPolishcol-lectionsofmilitariaitems,fromtheMiddleAgestotheSecondWorldWar.

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The20thCenturyPolishArtGallerycomprisesoneofthemostspectacular collections of Young Poland art. On display aretheworksofthemostprominentartistsofthatperiod,whoshapedthespecific,decadentmoodofKrakowattheturnof19thand20thcentury.TheunsettlingpaintingsbyWitoldWo-jtkiewicz,WojciechWeissandWładysławPodkowiński leavea lasting impactandcannoteasilybe forgotten.ThenearlyminiaturelandscapesbyJanStanisławskireflecthisnostalgiaforUkraine.WorthseeingaretheworksofsuchmastersasJacekMalczewskiandLeonWyczółkowski.Extremelyinterest-ingarethedesignsofstainedglasswindowsforWawelCa-thedralbyStanisławWyspiański.Anotherexampleofstainedglasswindowmaking technique is JózefMehoffer’sprojectintendedforthecathedralinFreiberginSwitzerland.NexttoitisthestainedglasswindowVitaSomniumBreve(LifeisaShortDream),madeaccordingtothedesignofthesameartist.

Onecanget toknowtheartofstainedglassalso in theGallery of Craftsmanship. There is an outstanding setofthemfromtheDominicanchurchofśw.Trójca(HolyTrinity)inKrakow,fromthe13th–15thcentury.Preservedin itsoriginal form, itastonisheswith the richnessanddepthofcolours.

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PartoftheGalleryofCraftsmanshipisdevotedentirelytotheartoftheSecessionperiod.Thecommon,everydayitemsmadeinthebestPolishandEuropeanworkshopsarefas-cinatinglymasterfullycrafted.Twining,lithelinesofsilver,glassandporcelainitemsaswellasoffurniture,bringtolifetheworldfrom100yearsago.AmongtheraritiesinPolishcollectionsaretheworksofglassbyEmilGalle,andpartofacoffeesetdesignedbyanarchitectfromVienna,JosefHoffmann(1910).Asymbolof thePolishceramicsof theSecessionperiod is thevasewithaprocessionofnakedcharactersbyJanSzczepkowski.

NATiONAl MUSEUM iN KRAKOW

The Wyspiański Museum in the Szołayski House 11 Szczepańska St.

Opening hoursTuesday (temporary exhibitions only): 10.00 a.m.–6.00 p.m.Wednesday – Saturday: 10.00 a.m.–6.00 p.m.Sunday: 10.00 a.m.–4.00 p.m.Monday: closedFree admission to permanent exhibitions on Sundays.www.muzeum.krakow.pl

ThemuseumislocatedinthehouseoftheKrakowSzołayskifamily,builtinthe17thcentury,andexpandedinthe19thand20thc.ItwasgrantedtothemuseumbyWłodzimieraandAdamSzołayskiin1904andcommissionedin1928.In2003,aftera longrenovationthetenementbecamethe location of the Stanisław Wyspiański Museum, ex-istingsince1983.Themuseumhouses twopermanentexhibitions.TheGalleryofStanisławWyspiański’sWorkshasthegreatestcollectionofhisworksinPoland.Amongothersarehisoriginal interiordesigns,andappliedart,hisself-portraitsandportraitsofhisfriends,workscon-nectedwiththeatreandstainedglassdesigns.Thesec-ondpermanentexpositionisdevotedtoFeliksJasieński,

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also know as “Manggha”.ItrecreatesthemoodofhisflatinKrakow,andremindsvisitors of the numerousfriendships of this extraor-dinary collector and sup-porterofthemuseumwiththeprominentartistsoftheYoungPolandperiod.

intheStanisławWyspiańskiMuseum we get to knowtheworldoftheYoungPo-landperiod,andtheworksof one of the most promi-nentofPolishartistsoftheturn of the 19th and 20thcentury. His versatile activ-ity connected with almostevery branch of arts helpsus toget toknowthebestexamplesof theYoungPo-

land period paintings, stained glass designs, stage andtheatrecostumedesign,andalsothefurnishingofbour-geois houses in the Secession period. We can see theoriginal, legendary pieces of furniture made at the re-questofTadeuszBoyŻeleńskiandhiswifeZofiafortheirflatinKrakow.Commandingattentionarethedesignsof

someofthemostbeautifulstainedglasswindowsoftheYoungPolandperiod–Apollo,adecorationoftheMedi-calHouseSociety,andGodtheFatherfromaFranciscanchurchinKrakow.Alsoondisplayaretheself-portraitsofWyspiańskiandtheportraitsofhisfriendsandchildren,whicharerepresentativeofSecessionpaintinginPoland.One of the museum rooms, called the “Sapphire work-shop”,isdevotedtotheprivatelifeoftheartistandthesubject of motherhood. Furniture, sculptures, tapestriesand trinketsoncebelonging to thisgreat collector,giveagoodimpressionofhowbourgeoisSecessionresidentialinteriorslooked.

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A beautiful garden by the house adds to the charm.Amongthemosttreasuredstainedglasspiecesare:Vitasomnium breve; Caritas; Wiara, Nadzieja, Miłość (Faith,Hope, Love); a portrait of his wife – the “Florentine”;the landscapes Wisła pod Niepołomicami (Vistula atNiepołomice), and Czerwona parasolka (Red Umbrella);and designs – Nature and Art (for the Palace of Art inKrakow)andFlowers(polychromemotifoftheTreasuryatWawelCathedral).

NATiONAl MUSEUM iN KRAKOW

The Mehoffer House26 Krupnicza St.

ThemuseumislocatedinahouseatKrupniczaStreet,whichJózefMehoffer–oneofthetopartistsofYoungPoland–bought and furnishedwith stylishpiecesof furniture,worksofart,andcraftsmanship. In1986thehouse,ac-cordingtothewilloftheartist’sfamily,wasgiventotheNational Museum in Krakow, where in January 1996 itwasopenedtothepublic.

The insideof thehouse,which isnowabiographicalmu-seumof theartist, is furnishedaccording tohisoriginalidea.Theunitisamuseumofinteriors,wheretheroomsarefilledwiththesameoldfurnitureandcommonitemsasoncebefore,andwhichareexcellentexamplesofSe-cessioncraftsmanship.

Thewhole iscompletedwith theworksof JózefMehofferhimself, i.e. stained glass, oil paintings and drawings.

Opening hoursTuesday – Saturday: 10.00 a.m.–6.00 p.m.Sunday: 10.00 a.m.–4.00 p.m.Monday: closedFree admission to permanent exhibitions on Sundays.www.muzeum.krakow.pl

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Stained Glass Museum (S.G. Żeleński Krakow Stained Glass Workshop)al. Krasińskiego 23

Opening hoursOpen by arrangement only Phone/fax +48 12 422 86 19; mobile phone +48 501 23 31 27www.muzeumwitrazu.pl

intheonlystainedglassmuseuminPoland,apartfromtheitemsofthepermanentexhibition,theprocessofmakingstainedglass,unchanged forhundredsof years, canbeobserved.ThetenementinwhichthemuseumispresentlylocatedwasbuiltspecificallyfortheneedsoftheStainedGlassWorkshopin1906accordingtoLudwikWojtyczkaandStanisławGabrielŻeleński’sdesign.Thetourisorgan-isedina“livemuseum”convention,andalltheinteriorsandtheequipmentoftheworkshophaveretainedtheiroriginalcharacter.

Themostimportantthingintheprocessofcreatingstainedglass is,apart fromthedesign itself, thecontactof theartist with the workshop. The ability to cooperate with

thecraftsmenandwiththeworkshopinwhichthepieceis created is necessary to successfully realise the artist’svision. The most renowned Polish designers, such asWyspiański,Mehoffer,BukowskiandFrycz,onmorethanoneoccasionstressedtheimportanceofcooperationbe-tweentheartistandthecraftsmaninaproperlyequippedworkshop,which not only helps in achieving the effectintendedbythedesigner,butalsoallowshimtoaltertheinitialdesignduringthecourseofcreationofthepiece,evenifitmeanstheexchangeofhalftheglasspiecesfornewones...StanisławGabrielŻeleńskisharedthisviewofaworkshopwhenhedecidedtobuildatenementtohousehisworkshopontheoutskirtsofthecityin1906.StanisławWyspiański,whowithutmostcareworkedoncompletionofhisprojects,spentalotoftimeinthisplace,overseeingnearlyeverystepoftheprocess.

The Krakow Workshop was designed as a large, complexenterprise intended not only to produce stained glass,butalso to traincraftsmen,designersand stainedglass

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creators,byshowingthemthepotentialofthistechnique.Huge commercial and artistic successes allowed for therapidandbrilliantdevelopmentoftheworkshop,whichfor many years fulfilled an important, culture-formingrole,receivingawardsforthehighestqualityatlocalandinternationalexpositions.ThemostprominentPolishart-istsof theearly20thcenturycooperatedwith thework-shop. ItwasherethatthegreatestofthePolishstainedglasspieceswerecreated.

“TheprideoftheworkshopisthecollectionofworksbyWyspiański,madehere (MedicalHouseSociety, Francis-cans’ Church in Krakow, famous blessed Salomea) andtheworksofMehoffer,whopublicly thankedthework-shop for theartistic recreationofhisproject forWawelCathedral.awholerangeofgreatstainedglasswindowsdesignedbymasterMehoffer forWawelCathedralshallbemadeatMrŻeleński’sworkshop.”

Besides art, the idea of reviving this craftsmanship hadits supporters, particularly among artists, who had al-readyraisedsomecraftsintotherankofarts.ThebestexampleofacertainintegrationofartswasWyspiański,a poet andpainter, creator ofwonderful stainedglasswindowsandmovingdramas,architectonicvisionsandstagedesigns,butalsooffurniture,tapestries,wroughtirondecorations,wholeinteriors,polychromesandbookillustrations.Anever-growingcircleofartists,universitygraduates,wasinterestedinappliedart.In1901the“So-

cietyforPolishAppliedArt”,whichpropagateditsideasinitsownperiodical,“AppliedArt”,launcheditsactivity.Itconsistedofpainters,sculptors,architects,ethnogra-phersandarthistorians,aswellasadmirersandpatrons

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of craftsmanship. What they all had in common wasacertainstyle,derivingfromfolkart.Therefore,nexttotheobviousinfluenceoftheartoftheSecession,someconceptswereborninKrakowthatbecameanimportantcontribution to its output. Also there appeared somecharacteristicelementsthatdifferentiateKrakowstainedglassformgeneraltrends.Fromthisperspective,thees-tablishmentandrapiddevelopmentoftheS.G.ŻeleńskiKrakowStainedGlassWorkshopshouldberegardedasaverycharacteristicphenomenonofthatage.Anartis-ticworkshopintegratedwithacraftsmanshipworkshop–everythingaccordingtotheexpectationsofideologistsofappliedart.

in2002PiotrOstrowski became theowner and thehostoftheworkshop.Thankstohisefforts,afterforty-eightyearsofpause,theworkshopregaineditsoriginalnameS.G. Żeleński Krakow Stained Glass Workshop. In No-vember1999theinheritorsoftheŻeleńskifamilylegacyunanimously agreed on returning to the old logo andname. Their consent was on the condition “that thebusinessentitytobeestablished,activeinthesphereofstainedglassmaking,willensurehighprofessionalandartisticleveloftheoutput,inordertosustainthetradi-tionoftherenownedS.G.ŻeleńskiKrakowStainedGlassWorkshop,andthatthebusinessentityshall,apartfromproduction and preservation activity, organise exhibi-tionsoftheworkshop’soutput.”

in 2002, the 100th anniversary of the workshop’s estab-lishment, a Stained Glass Gallery was established inits premises. Based on that gallery, in 2005 Ostrowskiestablished a Stained Glass Museum with the charternegotiated with the Minister of Culture. The museum,establishedinatenementbuiltin1906,comprisesexhi-bitionroomsandanoperatingworkshop,givingalife-likeimpression.

in 2000–2008 many prestigious pieces, and preservationworks, were created in the workshop, confirming thehighestqualityandthe return to thebest traditionsoftheoldestPolish stainedglassworkshop.Themost in-teresting items include:asetofstainedglasswindowsin the lifts of the office buildings Herbewo in Krakow,stainedglassinachurchinDobczyce-Kornatka,adapta-tionsofJózefMehofferdesigns,andthemakingofeightstainedglasswindows fora church inTurek.However,themostdemandingandprestigiouswasthefinalisationof theproject forWawelCathedral,whichwasacom-binedeffortofOstrowskiandAndrzejWajda in2002–2007,andwasbasedonpreviouslyunrealisedStanisławWyspiański designs. These stained glass windows arepresented in the Expositional–Informational Pavilion“Wyspiański2000”inKrakow.

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The Seweryn Udziela Museum of Ethnography in KrakowMain Building – City Hall, 1 Wolnica Square“Esterka” building, 46 Krakowska St.

Opening hoursTuesday, Wednesday, Friday, Saturday: 11.00 a.m.–7.00 p.m.Thursday: 11.00 a.m.–9.00 p.m.Sunday: 11.00 a.m.–3.00 p.m.Monday: closedwww.etnomuzeum.eu

Themuseum,establishedin1911attheinitiativeofSewerynUdziela,a teacher,amateurethnographerandcollector,islocatedinanoldcityhallbuildingofKazimierz,builtinthe15thc.inGothicstyle,andinlateragesexpandedinRenaissancestyle.ThecityhallhousesaPolishfolkcultureexhibition,whileinthesecondbuilding,theso-calledEs-terka,inbeautifullyvaulted16thcenturycellarstemporaryexhibitionsareheld.

Themuseumcollections,numberingover80thousandex-hibits,mostofwhichcomefromtheendofthe19thandthebeginningofthe20thcentury,originatedfromSew-eryn Udziela’s own collection. Most of the collectionsare Polish, but there are also considerable ones fromotherEuropeancountries,mostlySlavonicones,butalso

frombeyondEurope,manyofwhichweredonatedbyPolish travellersandexplorers.Themuseumalsohous-esavastarchivewithmanythousandsofphotos,glassplates,manuscriptsanddrawings,aswellasaspecialistlibrary,inwhichamong30thousandvolumestherearealsouniqueworks.

Themaincentresofliterary-artisticlifeintheYoungPolandperiodwerelocatedinLesserPoland.Characteristicofthismovement was the turning towards folk culture, whichresultedintheso-called“peasantmania”–anartisticandideological phenomenonwhich appealedgreatly to thePolishintelligentsiacircles.SewerynUdziela–thefounderof theMuseumof Ethnography in Krakow –wasprob-ablyunderastronginfluenceoftheYoungPoland“fash-ion”, sensing that it was a favourable moment to startanethnographiccollection.Forthisreason,themuseumis a prime example of the wide interest in and fascina-tionwithfolkculturewithinsocietyintheYoungPolandperiod.Withoutthisfascinationtherewouldbenosocialneedforestablishingsuchaninstitutionin1911!

AssoonaswebeginourvisittothemuseumwecometoamodelofahutbyBłażejCzepiec,oneoftheguestsatLucjanRydel’sweddingwith JadwigaMikołajczykównain 1900, supervised by Włodzimierz Tetmajer. Immedi-ately after that, when we enter the Krakow chambersand admire the colourful folk outfits, particularly thatofthebride,StanisławWyspiański’s“Wedding”naturallycomestomind.

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WhenweseethePodhalechamber,amodelofaPolishhigh-landers’hut,fullingworkshop,shepherds’shackandhigh-landers’ outfits,we realise that theYoung Poland artistswere fascinatedbyhighlanders’cultureaswell. Itwas intheYoungPolandperiodthatStanisławWitkiewiczcreatedthe national Zakopane style, based on architecture anddecorativeartofthePolishhighlands.Thecolourful,stripedŁowiczoutfits remindusof the characters of Jagna andMaciejBoryna, theprotagonistsof “Chłopi” (“Peasants”)byWładysławReymont,oneoftheleadingwritersoftheYoungPolandperiod.

The Seweryn Udziela Museumof Ethnography in Krakow,a ‘cradle’ of folk culture inKrakow,invitesyoutoviewitspricelesscollections.TheywillhelpyouunderstandwhytheartistsofYoungPolandwereso fascinated with the localfolklore,itsvigourandvitality,inwhich theysoughta rem-edy for the stagnation andgrowingculturalcrisisofthePolishintelligentsiaoftheturnofthe19thand20thcentury.

HElENA MOdRzEjEWSKA NATiONAl STARY THEATRE iN KRAKOW

The Stary Theatre Museum1 jagiellońska St.

The Stary Theatre Museum is located in the main buildingof theStary Theatre, at Szczepański Sq. and JagiellońskaSt. It was opened on the 200th anniversary of the stagein1981. Thebuildingof the theatre itself, established in1799,hasSecessiondecorationsfromtheconversionofthebuildingin1903–1906.Thearchitects,TadeuszStryjeński,FranciszekMączyński,sculptorsandpainters,membersofPolishAppliedArt,createdoneofthemostbeautifuloftheSecessionbuildingsinKrakow.Theticketforaperformanceallowsyoutovisittheinteriorsofthetheatreonehourbe-forethestartoftheperformanceontheBigStage.

ThecollectionoftheStaryTheatreMuseumincludespreciousmemorabilia documenting the work of the most promi-nentactors,directors,stagedesignersandcomposerswho

Exhibition unavailable due to the remodelling of the building to the meet the museum’s new needs.

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Illustrationsaretakenfrommuseums’archives.Editing:J.Lenczowski.Graphicdesign:P.Bytnar.

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areapartofthehistoryofthisstage,andduetotherankof thecreatedart, thehistoryof thePolish theatre in itsentirety.ConnectedwiththeSecessioncultureofKrakowarefirstofalltheitemsleftafterthestagingofStanisławWyspiański’s plays, in the form of photographs, stagedesigns, costumes, video records (“Wyzwolenie” (“Lib-eration”)byKonradŚwiniarski,“Wesele”(“Wedding”)byAndrzejWajdaandJerzyGrzegorzewski),andthestagingof“Zbiegiemlat,zbiegiemdni”(“AsYearsGoBy,AsDaysGoBy”)byAndrzejWajda—apictureofcitylife.

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