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Fa\u0142at wybrany w 1895 roku na stanowisko dyrektora SSP przeprowadzi\u0142 reform\u0119 uczelni. Zlikwidowa\u0142 Matejkowsk\u0105 pracowni\u0119 malarstwa historycznego i sprowadzi\u0142 do Krakowa liczne grono profesor\u00f3w reprezentuj\u0105cych nowe nurty w sztuce \u2013 m.in. Teodora Axentowicza (1895), Leona Wycz\u00f3\u0142kowskiego (1895), Konstantego Laszczk\u0119 (1905), Jacka Malczewskiego (1896), Jana Stanis\u0142awskiego (1897), J\u00f3zefa Mehoffera (1900), Stanis\u0142awa Wyspia\u0144skiego (1902), J\u00f3zefa Pankiewicza (1906), Ferdynanda Ruszczyca (1906) i Wojciecha Weissa (1907).\u003Cbr \/\u003E\r\nKonstanty Laszczka rozpocz\u0105\u0142 prac\u0119 na SSP jako nauczyciel prowizoryczny w roku 1895. Rok p\u00f3\u017aniej rze\u017abiarz otrzyma\u0142 tytu\u0142 profesora nadzwyczajnego, a w roku 1905 \u2013 profesora zwyczajnego. Powo\u0142anie Laszczki na uczelni\u0119 wnios\u0142o now\u0105 jako\u015b\u0107 do nauczania rze\u017aby w krakowskiej SSP, a p\u00f3\u017aniej ASP. Wcze\u015bniej na uczelni dominowa\u0142 wp\u0142yw dw\u00f3ch wybitnych rze\u017abiarzy \u2013 Walerego Gadomskiego i Alfreda Dauna, kt\u00f3rzy nauczali akademickiego realizmu.\u003Cbr \/\u003E\r\nLaszczk\u0119 i Fa\u0142ata pocz\u0105tkowo \u0142\u0105czy\u0142y tylko relacje zawodowe. Z czasem arty\u015bci zaprzyja\u017anili si\u0119 i utrzymywali bliskie relacje a\u017c do \u015bmierci Fa\u0142ata w roku 1929. Laszczka, opr\u00f3cz prezentowanego popiersia przyjaciela, wykona\u0142 tak\u017ce kilka portret\u00f3w jego \u017cony \u2013 s\u0142yn\u0105cej z urody Marii Fa\u0142atowej. Jej popiersie z roku 1902 \u2013 prezentowane w Krakowie, Pradze i Wiedniu \u2013 rozs\u0142awi\u0142o Laszczk\u0119 jako wybitnego portrecist\u0119.\u003C\/p\u003E","author":null,"copyright":null,"event":null}],"description":""},"type":{"id":3531,"name":"Zobacz te\u017c:","feature":1},"comment":null,"position":2,"url":null},{"id":86030,"object":{"id":1175,"title":"W\u0142adca z Sakkary","image":{"id":75716,"position":null,"filePath":"bd\/06\/bd06815dbcc8f310b5dbf97db5ba5fad","extension":"jpg","altText":null,"altTextEn":null,"vimeoUrl":null},"authors":[],"periods":[{"id":34567,"name":"oko\u0142o 150 p.n.e.","comment":"okres ptolemejski"}],"createPlaces":[{"id":33174,"name":"Sakkara","role":"Miejsce powstania","lat":null,"lon":null,"comment":"","hierarchy":"Sakkara","includeHierarchy":false,"baseConnectionObjects":[]}],"tags":[{"id":34997,"name":"archeologia","comment":"","hierarchy":"archeologia","includeHierarchy":false,"baseConnectionObjects":[]},{"id":34921,"name":"wykopaliska","comment":"","hierarchy":"wykopaliska","includeHierarchy":false,"baseConnectionObjects":[]},{"id":34872,"name":"portret","comment":"","hierarchy":"portret","includeHierarchy":false,"baseConnectionObjects":[]},{"id":35071,"name":"staro\u017cytny Egipt","comment":"","hierarchy":"staro\u017cytny Egipt","includeHierarchy":false,"baseConnectionObjects":[]}],"publicDescriptions":[{"text":"\u003Cp\u003EPortret przedstawia faraona, na co wskazuje\u00a0\u003Cem\u003Enemes\u00a0\u003C\/em\u003Epokrywajacy g\u0142ow\u0119 prezentowanego m\u0119\u017cczyzny, czyli charakterystyczny pr\u0105\u017ckowany materia\u0142 \u2013 rodzaj chusty noszonej przez w\u0142adc\u00f3w egipskich, oraz\u00a0\u003Cem\u003Eureusz\u00a0\u003C\/em\u003Eumieszczony na niej po\u015brodku, czyli kr\u00f3lewska kobra \u2013 kolejny symbol wszechw\u0142adzy faraona.\u003Cbr \/\u003E\r\nIdealizm przedstawienia nie pozwala na powi\u0105zanie portretu z konkretnym w\u0142adc\u0105, jednak pewne cechy stylistyczne rze\u017aby umo\u017cliwiaj\u0105 wskazanie okresu ptolemejskiego jako zakresu czasowego, w kt\u00f3rym powsta\u0142a. Niestety \u00f3wczesne portrety w\u0142adc\u00f3w by\u0142y cz\u0119sto przekuwane na potrzeby kolejnych przedstawie\u0144, wi\u0119c nawet przybli\u017cone datowanie nie umo\u017cliwia wskazania konkretnego przedstawiciela dynastii Ptolemeuszy.\u003Cbr \/\u003E\r\nNa podstawie podobie\u0144stwa z rze\u017ab\u0105 sfinksa odnalezion\u0105 w Sakkarze i datowan\u0105 na 150 rok p.n.e. ustalono, \u017ce prezentowana g\u0142owa mog\u0142a stanowi\u0107 cz\u0119\u015b\u0107 tego pos\u0105gu.\u003C\/p\u003E","author":null,"copyright":null,"event":null}],"description":""},"type":{"id":3531,"name":"Zobacz te\u017c:","feature":1},"comment":null,"position":3,"url":null},{"id":72111,"object":{"id":17,"title":"Napoleon na koniu","image":{"id":71400,"position":null,"filePath":"13\/62\/13627e206062125122069752eb4532d5","extension":"jpg","altText":null,"altTextEn":null,"vimeoUrl":null},"authors":[{"id":32465,"name":"Piotr Micha\u0142owski (1800\u20131855)","role":"tw\u00f3rca","comment":null,"dateFrom":null,"dateTo":null,"placeDateOfBirth":null,"placeDateOfDeath":null,"biography":null,"period":null,"additionalRoles":[],"baseConnectionObjects":[],"dcClassification":null}],"periods":[{"id":36546,"name":"1832\u20131835","comment":"projekt"},{"id":36545,"name":"1841","comment":"odlew"}],"createPlaces":[],"tags":[{"id":34854,"name":"pomnik","comment":"","hierarchy":"pomnik","includeHierarchy":false,"baseConnectionObjects":[]},{"id":35108,"name":"je\u017adziectwo","comment":"","hierarchy":"je\u017adziectwo","includeHierarchy":false,"baseConnectionObjects":[]},{"id":37875,"name":"historia","comment":"","hierarchy":"historia","includeHierarchy":false,"baseConnectionObjects":[]}],"publicDescriptions":[{"text":"\u003Cp\u003EModel, prawdopodobnie gipsowy, wed\u0142ug kt\u00f3rego powsta\u0142a ta\u00a0statuetka, Piotr Micha\u0142owski (1800\u20131855) wykona\u0142 w latach 1832\u20131835 podczas pobytu w Pary\u017cu, w kr\u0119gu pracowni\u00a0Nicolas-Toussainta\u00a0Charleta, stanowi\u0105cej pod\u00f3wczas \u2013\u00a0jak to p\u00f3\u017aniej ujmie c\u00f3rka malarza \u2013\u00a0prawdziwe \u201eognisko bonapartyzmu\u201d. Nawi\u0105zuj\u0105c do ikonografii bohaterskich wodz\u00f3w, artysta ukaza\u0142 Napoleona\u00a0na wspi\u0119tym koniu i z wyci\u0105gni\u0119t\u0105 r\u0119k\u0105 wskazuj\u0105c\u0105 kierunek natarcia, czyli niemal tak samo jak i na innych swoich przedstawieniach cesarza z tego czasu: obrazie olejnym\u00a0\u003Cem\u003ENapoleon konno wydaj\u0105cy rozkazy\u003C\/em\u003E\u00a0(Muzeum Narodowe we Wroc\u0142awiu) oraz podobnej akwareli (Muzeum Narodowe w Krakowie).\u003Cbr \/\u003E\r\nWed\u0142ug ustale\u0144 historyka sztuki Jana K. Ostrowskiego, kt\u00f3ry zbada\u0142 dzieje pos\u0105\u017cku, malarz\u00a0podarowa\u0142 jego orygina\u0142 swemu te\u015bciowi Antoniemu Ostrowskiemu, przebywaj\u0105cemu na emigracji we Francji. Lata monarchii lipcowej sprzyja\u0142y kultowi Napoleona. Gdy przyst\u0105piono do przygotowywania cesarskiego mauzoleum w zwi\u0105zku z planowanym sprowadzeniem jego szcz\u0105tk\u00f3w z wyspy \u015awi\u0119tej Heleny do Pary\u017ca, pojawi\u0142a si\u0119\u00a0idea postawienia na dziedzi\u0144cu Luwru po\u015bwi\u0119conego mu pomnika. Antoni Ostrowski uzna\u0142, \u017ce za\u00a0model\u00a0mog\u0142aby pos\u0142u\u017cy\u0107 statuetka autorstwa Micha\u0142owskiego. W tym celu w roku 1841 Micha\u0142owski zleci\u0142\u00a0wykonanie\u00a0jej\u00a0odlewu\u00a0u paryskiego gisera Debraux d\u2019Anglure\u2019a\u00a0i podj\u0105\u0142 starania o uzyskanie zam\u00f3wienia rz\u0105du francuskiego. Zamys\u0142\u00a0ten\u00a0jednak\u00a0si\u0119 nie powi\u00f3d\u0142, podobnie jak nie zosta\u0142 zrealizowany w skali monumentalnej projekt pomnika Napoleona dla Luwru, nad kt\u00f3rym w tym samym czasie\u00a0pracowa\u0142 w\u0142oski rze\u017abiarz Carlo Marochetti. Julia Micha\u0142owska, \u017cona malarza, ponownie pr\u00f3bowa\u0142a nada\u0107 tej sprawie bieg w roku 1846. Tak\u017ce i tym razem bezskutecznie. Sam Micha\u0142owski do wszystkiego odni\u00f3s\u0142 si\u0119 krytycznie: \u201eCzemu si\u0119 nie poradzono, oddaj\u0105c pod s\u0105d publiczno\u015bci robot\u0119, z kt\u00f3rej nigdy kontent nie by\u0142em?\u201d \u2013 pisa\u0142.\u00a0\u003Cbr \/\u003E\r\nPrezentowana statuetka\u00a0trafi\u0142a\u00a0do Muzeum\u00a0Narodowego\u00a0w roku 1974 jako dar Andrzeja Ciechanowieckiego z Londynu, kt\u00f3ry naby\u0142 j\u0105\u00a0w antykwariacie w Pary\u017cu; wcze\u015bniej by\u0142a w\u00a0zbiorach\u00a0prywatnych\u00a0w okolicach Tours. Nie zachowa\u0142y si\u0119 cz\u0119\u015bci ruchome: cugle i szpada.\u00a0W\u00a0zbiorach pa\u0144stwowych i prywatnych przechowywane s\u0105 te\u017c inne egzemplarze pos\u0105\u017cku.\u003C\/p\u003E","author":null,"copyright":null,"event":null}],"description":""},"type":{"id":3531,"name":"Zobacz te\u017c:","feature":1},"comment":null,"position":4,"url":null},{"id":72125,"object":{"id":19,"title":"Portret ksi\u0119cia J\u00f3zefa Poniatowskiego","image":{"id":85550,"position":null,"filePath":"2e\/b8\/2eb873a4d1eeeec977258414606614fb","extension":"jpg","altText":null,"altTextEn":null,"vimeoUrl":null},"authors":[{"id":32466,"name":"Jakub Tatarkiewicz (1798\u20131854)","role":"tw\u00f3rca","comment":null,"dateFrom":null,"dateTo":null,"placeDateOfBirth":null,"placeDateOfDeath":null,"biography":null,"period":null,"additionalRoles":[],"baseConnectionObjects":[],"dcClassification":null}],"periods":[{"id":33975,"name":"1826\u20131827","comment":""}],"createPlaces":[],"tags":[{"id":34872,"name":"portret","comment":"","hierarchy":"portret","includeHierarchy":false,"baseConnectionObjects":[]},{"id":34873,"name":"popiersie","comment":"","hierarchy":"popiersie","includeHierarchy":false,"baseConnectionObjects":[]},{"id":35173,"name":"klasycyzm","comment":"","hierarchy":"klasycyzm","includeHierarchy":false,"baseConnectionObjects":[]}],"publicDescriptions":[{"text":"\u003Cp\u003EKsi\u0105\u017c\u0119 J\u00f3zef Poniatowski, bratanek ostatniego kr\u00f3la Polski, w\u00f3dz naczelny wojsk Ksi\u0119stwa Warszawskiego, zgin\u0105\u0142 w bitwie pod Lipskiem w 1813 roku. \u015amier\u0107 w wodach rzeki\u00a0Elstery zapocz\u0105tkowa\u0142a kult jego postaci, silnie zwi\u0105zany z legend\u0105 napoleo\u0144sk\u0105. W 1817 roku cia\u0142o ksi\u0119cia z\u0142o\u017cono w krypcie \u015bw. Leonarda na Wawelu.\u00a0\u003Cbr \/\u003E\r\nPopiersie jest\u00a0autorsk\u0105\u00a0kopi\u0105 studium do s\u0142ynnego warszawskiego pomnika ksi\u0119cia J\u00f3zefa Poniatowskiego\u00a0d\u0142uta Bertela Thorvaldsena.\u00a0Jakub Tatarkiewicz (1798\u20131854), kt\u00f3ry,\u00a0podobnie jak Konstanty Hegel\u00a0i Pawe\u0142\u00a0Mali\u0144ski, by\u0142 uczniem Thorvaldsena w rzymskiej Akademii \u015bw. \u0141ukasza, z powodzeniem zaadaptowa\u0142\u00a0tu ch\u0142odny neoklasycyzm swego nauczyciela.\u003Cbr \/\u003E\r\nKsi\u0105\u017c\u0119 J\u00f3zef Poniatowski zosta\u0142\u00a0ukazany jako bohater\u00a0stylizowany\u00a0na antycznego\u00a0wodza\u00a0\u2013\u00a0z w\u0142osami u\u0142o\u017conymi nad czo\u0142em na spos\u00f3b rzymski\u00a0i\u00a0z nagim torsem.\u00a0Aby podkre\u015bli\u0107 narodow\u0105 przynale\u017cno\u015b\u0107 ksi\u0119cia J\u00f3zefa,\u00a0asymetrycznie udrapowana na ramieniu toga zosta\u0142a spi\u0119ta fibul\u0105 z wyobra\u017ceniem\u00a0or\u0142a Ksi\u0119stwa Warszawskiego. Przemo\u017cny wp\u0142yw staro\u017cytnej rze\u017aby portretowej widoczny jest tak\u017ce w pewnej idealizacji rys\u00f3w twarzy, przy r\u00f3wnoczesnym zachowaniu cech charakterystycznych modela.\u003Cbr \/\u003E\r\nAntyczna stylizacja ma swoje \u017ar\u00f3d\u0142o r\u00f3wnie\u017c w zainteresowaniu Tatarkiewicza pogl\u0105dami Stanis\u0142awa Kostki Potockiego, kt\u00f3ry prze\u0142o\u017cy\u0142 i zaadaptowa\u0142 dzie\u0142o Johanna Joachima Winckelmanna\u00a0\u003Cem\u003EGeschichte der Kunst des Alterthums\u00a0\u003C\/em\u003E(tytu\u0142 polskiego przek\u0142adu wydanego w Warszawie w 1815 r.:\u00a0O\u003Cem\u003E\u00a0sztuce u dawnych, czyli Winkelman polski\u003C\/em\u003E)\u003Cem\u003E.\u00a0\u003C\/em\u003EPostulowana przez Winckelmanna \u201eszlachetna prostota i spokojna wielko\u015b\u0107\u201d znajduje wyraz w tw\u00f3rczo\u015bci rze\u017abiarskiej Tatarkiewicza, kt\u00f3rego pe\u0142ne umiaru kompozycje odznacza\u0142y si\u0119 harmonijn\u0105, zwart\u0105 bry\u0142\u0105 i g\u0142adk\u0105 faktur\u0105. 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Obraz symbolicznie nawi\u0105zuje do dzie\u0142a mistrza Rodakowskiego, L\u00e9ona Cognieta (1794\u20131880), kt\u00f3ry po upadku powstania listopadowego namalowa\u0142 obraz\u00a0\u003Cem\u003EPraga 1831\u003C\/em\u003E, ukazuj\u0105cy \u015bwie\u017ce pobojowisko i stoj\u0105cego na jego tle oficera, kt\u00f3rego postawa i wyraz twarzy znamionowa\u0142y nieugi\u0119to\u015b\u0107 i zapowied\u017a zemsty. Bohaterem obrazu\u00a0czy te\u017c kryptobohaterem poniewa\u017c posta\u0107 oficera ma w tym przedstawieniu charakter symboliczny by\u0142 genera\u0142 Dembi\u0144ski.\u003Cbr \/\u003E\r\nHenryk Rodakowski (1823\u20131894), maluj\u0105c portret genera\u0142a po kl\u0119sce Wiosny Lud\u00f3w, przedstawi\u0142 go w kontemplacyjnej pozie, ale nie zrezygnowanego: z r\u0119k\u0105 wspart\u0105 na szabli, nad map\u0105 operacyjn\u0105, na tle symbolicznie poj\u0119tej, nierozstrzygni\u0119tej bitwy.\u003Cbr \/\u003E\r\nDzie\u0142o, przez umiej\u0119tne po\u0142\u0105czenie cech malarstwa romantycznego, realistycznego i akademickiego, jest zaliczane do gatunku\u00a0\u003Cem\u003Ejuste milieu\u003C\/em\u003E\u00a0(z franc. z\u0142otego \u015brodka). Przewa\u017ca w nim jednak pierwiastek romantyczny. 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