Spring Festivals and Events

We had read an advertisement about the exhibition “A Woman with an easel” that took place at the Regional Museum and decided to visit it. The exhibition presented the numerous works of an outstanding Polish painter, who was born in Siedlce: Małgorzata Łada Maciągowa ( 1881 – 1969). Her family moved to Krakow when she was nine years old, and she spent her entire life there and was buried there. The painter bequeathed all of her works (over 1,200) to the museum in Siedlce. In 1909, she married a doctor Adam Maciąg, a colonel and a brigade general post-mortem (1879-1940), and in 1918 they had a son Adam (1918-1940).

The Painter of the Spanish Sun
In the twenties, Małgorzata travelled a lot. Antoni Waskowski, the secretary of the Society of Friends of Fine Arts in Kraków, attempted to synthesize the painter's work in 1931. After viewing sketches and paintings brought back from the 1925 trip to Spain, he called Maciągowa "the painter of the Spanish sun." He included the artist among the most important Polish visual artists due to the individual form she developed in her paintings and the balance of form and content that characterized them.

The numerous guests who visited Waśkowski's studio engaged in heated discussions about art:
“My studio was in a turmoil; I was visited by numerous painters and sculptors. The most frequent and always welcome guest was Teodor Axentowicz. Of other artists, very frequent and pleasant visitors to my studio, I would like to mention Wiesław Zarzycki. He was the last director of the State School of Decorative Arts, the restorer of Jan Matejko's polychromes in St. Mary's Church in Krakow. Also, frequent visitors were Karol Hukan, X. Dunikowski, Teodor Grott, an impressionist of the Wyczółkowski type, Zdzisław Gedliczka, author of the frescoes in the Augustinian refectory in Krakow, Małgorzata Maciągowa, the "Painter of the Spanish Sun," and my old companions from my youth – M. Samlicki, Wł. Skoczylas, K. Żelechowski, St. Szwarc, J. Gumowski. But besides T. Axentowicz, the most satisfying visits came from Leon Wyczółkowski and Józef Mehoffer, who was always very sparing and discreet in his praise and criticism. Sometimes, a few colleagues would randomly gather. Discussions about art would inflame us, often leading to violent outbursts of irritation and protest. But this was necessary; it fuelled our enthusiasm and fostered critical thinking. Among the most enjoyable, I count the visit of Olga Boznańska, who, perhaps during her last stay in Krakow (she lived permanently in Paris), visited my corner of the world.” (Antoni Waśkowski, "Friends from Those Times," Kraków 1971).

The Highlander – The portrait of Jan Gąsienica-Harendzki
Maciągowa's first portraits were created in the Art Nouveau style. The portrait of Jan Gąsienica-Harendzki draws on the tradition of depicting costumes that emphasize Polishness. Folklore remained a characteristic motif of Polish Art Nouveau. It was also characterized by a high degree of decorativeness, typical of Maciągowa's painting. And the richly decorated folk costume, symbolizing a connection to native tradition, undoubtedly provided an excellent pretext for displaying decorative effects. On the back of the portrait of Góral, the painter wrote that it was a portrait of Jan Gąsienica-Harencki. According to Tatra Museum staff, the surname should be Jan Gąsienica-Harendzki (after the name of the Zakopane district, Harenda).

Nudes
Małgorzata Łada Maciągowa is known for her numerous nude portraits and sketches. According to our museum guide, the artist most fully captured the beauty of women and the curves of their bodies by depicting intimate moments in her paintings—moments when no one is watching. The painter was also fascinated by women dressing, combing their hair, resting, sleeping, reading, looking in the mirror, or pinning up their hair. She observed models, actresses, and dancers who, uninhibited, fully embraced their bodies. However, the story of the nude does not end with the depiction of external beauty.

Małgorzata Łada Maciągowa_Sketches for naked women's portraits

A covered face, invisible features, and a pervasive understatement become a common denominator of her work. They imbue the representations with an aura of mystery, delicacy, and subtlety. A reserved, lowered gaze suggests embarrassment. The artist neither depicts nor describes directly—rather, she suggests. Reflections in a mirror often serve as a tool for these suggestions.

The naked bodies in Maciągowa's work are accompanied by a spiritual element, centered around the emotions and experiences of the women depicted. Her depiction of corporeality - against the backdrop of numerous nudes by men and the few by women during this period - is becoming an important voice in the discussion on how nudity is depicted in art. Contemporary humanities have been actively engaged with this topic for some time.

The Julian Academy, where the future artist trained, allowed women to study art and work with nude models. When the door to freely discussing nudity was opened to women, Maciągowa was able to create her own vision of the subject. The female nude, eagerly undertaken by men, and much less frequently by 20th-century artists, allows her to be credited with significant achievements in this field from a historical perspective. By fulfilling the idea of depicting the female body, Maciągowa transforms women into the virile goddess desired by artists.

We also admired the canvas depicting four white rabbits (1906-1908). According to our guide, those four white rabbits are completely unknown, and it's not the typical subject of Maciabrowa's work, so it's a kind of antics, showing a kind of love and entertainment.

There is a painting of a woman in a red coat - a Post-Impressionist style. The artist certainly observed the women in Degas's paintings when she was in France, and she learned that way of presenting everything she did in France. So the draperies reflected on the body, the light, and the human figure could become such a color plane. These were her painting techniques.

Her husband was a doctor and an officer. During World War I, those areas of Kraków were Austrian, so he really wanted to work for Polish soldiers during the war, for the legions that Piłsudski had formed, and he was forcibly incorporated into the Austro-Hungarian army. Therefore, he rebelled against it because he was very devoted to Poland's rights.

Małgorzata Łada Maciągowa_Travel pictures

Views of London

Małgorzata Łada Maciągowa_A view of Trafalgar Square over the roofs, 1929

Małgorzata Łada Maciągowa_Ladies' portraits

We, a group of residents of the Ukrainian war refugees’ dormitory, visited the Regional Museum guided by a group of IOM employees who work at our dormitory as advisors. We revisited the hall of the works of Małgorzata Łada Maciągowa. In addition, we saw other halls with the works of different Polish artists: Antonina Wysocka-Jonczak (1942-2011), Henryk Albin Tomaszewski (1906-1993), Jerzy Tchórzewski (1928-1999)

Antonina Wysocka-Jonczak (1942-2011) was born in Vilnius. She graduated from the State Secondary School of Fine Arts in Szczecin (Poland). She studied at the Faculty of Sculpture of the Academy of Fine Arts in Warsaw. She was a representative of the so-called Warsaw School, whose tradition and high level of achievement in monumental sculpture and medal art are well-known and recognized. She worked in monumental and small-scale sculpture, medal art, painting, and drawing. She was a prize-winner of numerous competitions. She participated in exhibitions and symposia both in Poland and abroad. For many years, she shaped the character of the Polish sculpture.

Her works are imbued with the emotion of form and its content. She touched upon emotions, feelings, and faith. Personal experiences helped her understand the essence. The deaths of loved ones and the struggle for survival in difficult times did not break her noble heart. Friends said she had never given up, that she had been forged in iron, while others were made of ordinary clay. She created in traditional materials: stone, wood, and bronze. Mostly, she associated her works with people who left traces of their existence every day, not visible to everyone. Therefore, her reflections on life became a shared legacy
She is the creator of, among others, the sculpture "Composition" on Lazienkowska Road and the monument to the Teachers of Clandestine Teaching in Kazimierzowski Park in Warsaw. She also created stone park sculptures in Czechoslovakia, Yugoslavia, the German Democratic Republic, and the USSR. Fortunately, her works have survived all trends and fashions, and remain compelling and contemporary.
She spent the last ten years of her life in Kotuń near Siedlce.
She said, ”For me, sculpting is about exploring my emotions, connecting meanings and psychological sensations. Through sculptural form, I can express a whole range of meanings, such as tears, journeys, pain, sublimity, transience, exile, hope”...

It was great to see the portraits of local celebrities again: Adam Kazimierz Czartoryski and Izabela Czartoryska. We found out more about their biographies.
Adam Kazimierz Czartoryski was born on December 1, 1734, in Gdańsk. He was the son of August Czartoryski, Voivode of Ruthenia, and Zofia Denhoff, née Sieniawska. In 1758, he became General of the Podolia Lands and in 1768 Commander of the Knights' School. In 1773, he became a member of the Commission of National Education. He was a member of the Great Sejm and belonged to the Patriotic Party. In 1798, after the death of Aleksandra Ogińska, he and his wife inherited Siedlce. On June 15, 1807, he exchanged the Siedlce estates for Przybysławice, Puchaczowce, Tarnogóra, and Zakrzówek, which belonged to the Austrian government. After 1800, he was a member of the Warsaw Society of Friends of Science. He died on March 19, 1823, in Sieniawa.

Izabela Czartoryska was born on March 3, 1746, in Warsaw. She was the daughter of Jerzy Fleming, Grand Treasurer of Lithuania, and Antonina née Czartoryska. On November 19, 1761, she married Adam Kazimierz Czartoryski. In 1798, after the death of Aleksandra Ogińska, she and her husband inherited Siedlce. On June 15, 1807, the couple exchanged the Siedlce estate for Przybysławice, Puchaczowce, Tarnogóra, and Zakrzówek, which belonged to the Austrian government. She died on June 17, 1835, in Sieniawa.
The portrait was painted in 1774 and is attributed to the outstanding Swedish Rococo painter Aleksander Roslin (1718-1793).

The fashion of the 1980s exhibition

Joanna Meisner (born 1947 in Warsaw) is an artist whose work constitutes a vivid record of the work of Polish designers at the end of the 20th century. Her artistic path seems deeply rooted in her family heritage. The daughter of two painters from the pre-war Academy of Fine Arts in Warsaw, she grew up surrounded by art from an early age. As a nine-year-old, she created her first "fashion journals," inspired by the work of her mother, a designer associated with the Institute of Industrial Design.
Joanna Meisner's education, reinforced by a diploma with honorary distinction from the Association of Polish Architects at the Stanisław Noakowski State School of Architecture (1970) and a Master of Arts degree from the Faculty of Graphic Arts at the Academy of Fine Arts in Warsaw (1976), became the foundation for her work, transcending the rigid boundaries of a single discipline. Joanna Meisner successfully combined the various roles that life at the time presented her with. In her case, the roles of designer, educator, and workshop artist.
It wasn't easy, but it was certainly creative and engaging. She built her teaching experience not only in Poland but also in schools and universities abroad, from Baghdad to Dublin and Limerick.

Joanna Meisner's portfolio encompasses a wide range of projects: interior design elements, furniture, paintings, toys, clothing, publishing graphics, and trade show exhibitions. The 1980s, spent at the Clothing Laboratory of the National Association of Clothing and Textile Worker Cooperatives, hold a special place in her life. It is this period, to which the current exhibition is devoted, that the artist remembers as her most coherent and creatively fulfilled. The artistic idea, developing into a visual expression, found its complement in a three-dimensional construction. Her work is proof that a designer's work is a thousand things, from concept through the dynamics of consultations, measurements, demonstrations, and teamwork. Although Joanna Meisner's personal life was intertwined with that of renowned designer Jan Krzysztof Meisner for nearly 20 years, she maintained full professional autonomy, and her artistic and design path remained completely distinct. This exhibition is an invitation to a world where craft meets imagination, and the passion for creation remains vibrant despite the passage of time. As the artist herself sums it up: "A full designer's life. It was worth it!"
The fashion of the 1980s was bold, expressive, and full of contrasts. It was characterized by broad, padded shoulders, vibrant colors, shimmering fabrics, and clear inspiration from the power dressing style. This style emphasized strength and professionalism, expressed through simple, decisive forms drawn from men's business fashion. The aesthetics of sports and pop culture were also a strong source of inspiration, lending the fashion of the period energy, freedom, and a distinctive character. Leggings, miniskirts, oversized jackets, jeans, and accessories that emphasized individuality and image were popular.

The exhibition included designs, conceptual sketches, and a series of illustrations for catalogs and fashion guides. This is just a small portion of the work created by Joanne Meisner at the Clothing Laboratory in Warsaw. The objects come from a file stored in her studio. The institution's archives have not survived. The works presented here were created during the process of creating clothing patterns at the Clothing Laboratory of the National Association of Clothing and Textile Worker Cooperatives in the 1980s. These are designs and conceptual sketches of garments used in short experimental series, fashion and trade collection shows, and so-called pattern fairs. They are accompanied by illustrations for fashion catalogs and guides, evidence of the creative process in which the idea gradually took shape, color, and meaning. Some of these were used in cooperative industry production for the domestic and export markets. The catalog illustrations facilitated cooperation with cooperatives in the field, while the guides, based on reviews of Western press, assisted designers who did not have access to such press.
On the way to these exhibitions, we viewed the museum exhibits, which we had seen before. This time we found out more about the archeological findings, about the economy and development of the region.

Viewing the museum exhibits one more time

Viewing the museum exhibits one more time

The Independence monument opposite the City Hall, Siedlce

The Independence monument opposite the City Hall, Siedlce

The Independence Monument in Siedlce commemorates the regaining of Poland's independence and the activities of Józef Piłsudski. The monument stands in the park in front of the City Hall. This is the second variant of the monument. The original one was erected in 1930 and unveiled on November 11 as a tribute to Piłsudski and independent Poland. Designed by Jan Komar, a teacher at Hetman Zółkiewski State Junior High School, the monument was made of field stones, forming an outline of the Vilnius Voivodeship. It was set up in front of the then County Sheriff's Office. The monument and the administrative buildings around it were destroyed by the bombings of September 1939, and the monument had to be dismantled after the end of World War II. The monument was rebuilt in 1990 in Independence Square opposite the City Hall. The solemn unveiling of the renewed monument took place on November 11, 1990.
We often pass this monument when we are in the historical part of the city, or sit in the park in front of it.

In addition, we attended the Women's Day festival at the Galeria Shopping Mall, saw the premises of the traveling Arena Circus in Siedlce, frequented the canal border of the state reserve in Siedlce and saw the FlyDream planes over the field there, and revisited the Soviet times cemetery of the World War II victims. We also discovered a new park – the Ecology Park opposite the Taste of India Restaurant.

On March 28, 2026, we attended a concert of Christian music called Stabat Mater (by V.Traczyk and A.Małecki). The performers were: Agnieszka Kadłubowska (soprano), Mateusz Rzewuski (organs), Masovia String Quintet, the City Choir, and Magdalena Lisiewicz (conductor).

On April 19, 2026, there was the traditional Flower Show:

The Flower Show on April 19, 2026, Siedlce

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On Friday, April 24, 2026, within the framework of the Masovian celebrations of the International Day for the Protection of Monuments, we attended an organ concert that was held in the Siedlce Cathedral on the organs of Dominik Biernacki, performed by the organ duo Małgorzata Trzaskalik-Wyrwa & Ireneusz Wyrwa (Fryderyk Chopin University of Music, Warsaw).
The program included the following amazing pieces:

• Felix Mendelssohn-Bartholdy (1809-1847): Allegro maestoso e vivace from Organ Sonata in C minor, Op. 65 No. 2
• Louis James Alfred Lefébure-Wély (1817-1869): Choeur de Voix Humaines
• César Franck (1822-1890): Andantino in G minor
• Gustav Adolf Merkel (1827-1885): Sonata in D minor, Op. 30 part I
• Eugène Gigout (1844-1925): Toccata in h
• Maurycy Moszkowski (1854-1925): Paraphrase du Polonaise du Prince Ogiński Les adieux à la Patrie (from the collection Polnische Volkstänze op. 55).

After the concert, we were invited upstairs to the organ chamber to enjoy the views and to see the organ pipes.

A view from the organ chamber of the Cathedral, Siedlce

A view of the stained glass window from the organ chamber/A view of the organ chamber from the liturgy hall of the Cathedral

A view of the organ during the concert at the Cathedral, Siedlce

On Saturday, April 24, the motorbike season was officially opened in Siedlce:

Attending the Motorbike Opening Season event, Siedlce

The flag of the event
Bikers are driving along Pilsudski Street after the motor show:

Traditionally, there were evening light illuminations for Polish Flag Day and May 3rd Constitution Day. The lights in national colors were displayed at six locations: Ogiński Palace, St. Stanislaus Church, the building of the Culture and Arts Center (CKiS), the Podlasie building of the Municipal Cultural Center, the White Hall at the Municipal Cultural Center, and the Siedlce City Hall.

St.Florian Street during the May 3 celebratons, Siedlce

The program of May 3 festivities / After the festivities at General Tadeusz Kościuszko Square

The festivities at General Tadeusz Kościuszko Square/Laying of wreaths at the monument to General Tadeusz Kościuszko

Constitution Day canvas at Lyceum IV, Siedlce

Traditional light illuminations for Polish Flag Day, May 2, Siedlce

We took part in the ceremonies of the 235th Anniversary of the Adoption of the Constitution of May 3. We joined the Constitution Day procession from the Cathedral to Tadeusz Kościuszko monument that stands in front of the Regional Museum (former City Hall). The march was accompanied by the Military Orchestra. After the procession, there was a big city meeting at the monument to Tadeusz Kościuszko. The program of the meeting included: singing the national anthem, speeches by the Mayor of Siedlce and other city leaders, a salute of honor, and the laying of wreaths at the monument of General Tadeusz Kościuszko by the representatives of city institutions and NGOs.
Also, at 9 a.m., 3 p.m., and 6 p.m., a trumpeter played the bugle call "Witaj Majowa Jutrzenko" (“Welcome, May Day Dawn”) from the tower of the "Pod Jacek" Town Hall, the seat of the Mieczyslaw Asłanowicz Regional Museum in Siedlce.

St. Stanisław Fair is a two-day festival full of inspiration, flavors, and meetings - an event that attracts residents and guests every year, creating a unique atmosphere of shared celebration. We attended this festival on both days.

The Solemn opening of the 17th St. Stanisław Fair in Siedlce took place at 4:30 p.m. in the main square - General Sikorski Square – at the intersection of Kilinski Street and Pulaski Street. There were animations from Magik ReSorek - Marcin Długosz, the Ilusionist, and Chodowiacy Song and Dance Ensemble. The program included presentations, pottery workshops, and paper workshops. The 12th culinary competition was also a part of the fair. Children enjoyed the inflatable playground, as usual. In addition, there was the Day of Non-Governmental Organizations.

The 17th edition of St. Stanislaus Fair, Siedlce

The 17th edition of St. Stanislaus Fair, Siedlce

The 17th edition of the Siedlce St. Stanislaus Fair was a unique opportunity to experience the atmosphere of an old market, to discover unique handicrafts, and to sample regional delicacies.
The fair serves as a trade fair and exhibition and has for years been an important space for local artists, craftspeople, and producers. This event responds to the needs of the region's artistic and culinary communities, enabling the promotion of its rich cultural heritage and traditional products on a wider scale.

The program featured attractions for entire families. One of the most popular events was the free, two-day pottery workshop, during which participants could try working on a potter's wheel and learn the basics of this unique folk art. In addition, handmade paper workshops were held over two days, which was a new event at that traditional fair.
On May 8th, the Forest Districts of Siedlce, Sokołów, Łuków, and Łochów held the Regional Forest Festival, which was an opportunity to learn more about the nature and the activities of foresters. We saw the educational stands of those forest districts.

On the second day of the Fair, the Culinariada took place – an event that has become a permanent fixture in the program and attracts cooking enthusiasts. The 12th culinary competition called Siedlce Culnariada was held on May 9. This is where you could feel the aroma of regional dishes and get plenty of inspiration. The Siedlce Culinariada is a traditional festival event that unites lovers of cooking and good food. It was an opportunity for those people who enjoy experimenting in the kitchen and want to showcase their skills, a perfect opportunity to enter the competition and share their dishes with others. The Culinariada was held in two categories: main courses and desserts. The winners received prizes donated by the Topaz Store Chain. Winners of both categories had the opportunity to spend a day as a chef at the Siedlce Brewery Restaurant Brofaktura, and the winning recipe would be published in the Tygodnik Siedlecki.
May 9th was also scheduled for Siedlce Non-Governmental Organizations Day – a space for meetings, presentations, and the integration of local community initiatives.

On Saturday, May 16, the MotoWiosna Festival took place in Polish Foresters’ Square – an event combining automotive emotions, live concerts, and attractions for the whole family.

Rock concerts at MotoWiosna Festival, Siedlce

Bistros and shopping at MotoWiosna Festival, Siedlce

Although the weather on that day was capricious and at times not conducive to outdoor activities, the event took place as planned. Those who decided to come could take advantage of the prepared attractions and spend time in a musical, outdoor atmosphere.

The event was aimed at combining passion for motoring with music and family entertainment.
Bands representing various musical styles presented themselves on stage: Bezpiecznik, Two&Teraz, Loki, NSC, Mrock, Rock Menu, Moriturus, and Ukryty Dimension. During the concerts, rock sounds were especially resounding, with which the participants could warm up and spend time despite the unfavorable weather conditions.

The program also included motorcycle trial shows, spectacular stagings in the knights' village, and a medical rescue show. Each of these attractions attracted the attention of the present guests.

In May, the graduation tower was unveiled in Polish Foresters Square. I thought that a single session lasted for about half an hour. However, according to the regulations, a recommended single session should last up to 45 minutes. I believed that the slower you stood in front of the graduation tower, the better. But the regulations require that you stay at least one meter away from the blackthorn around the graduation tower.
Approaching the graduation tower and touching the blackthorn is not recommended since it can result in staining, discoloration, or damage to clothing from falling brine drops. In addition, the graduation tower may be used by individuals whose medical conditions do not contraindicate their use of the facility.

There are contraindications, among them: acute illnesses with elevated body temperature, recent myocardial infarction, neoplastic diseases, hypersensitivity to bromine, iodine, or other ions contained in the brine; hyperthyroidism, coronary artery insufficiency, especially in individuals with low blood pressure; hemoptysis or a tendency to hemoptysis; history of pulmonary tuberculosis; history of lung abscess; and advanced bronchial asthma.

Roadside crosses on our way

One day, we decided to take a longer walk and to revisit the Soviet-era cemetery of the victims of World War II. We walked along Artiller Street past Aleksanira Hotel, then turned left to Okopna Street ("Trench Street"), and then turned left again to Victims of World War II Street. I do not usually take any pictures of the grave, but there I did take some.

There is a monument on the common grave of POWs, who died in concentration camps Stalag 366 in Siedlce and Niwiski (Siedlce County) in 1941-1944. The memorial plaques are in Polish, Russian, Italian and French. They state that 25,000 PoWs, who had been killed, died of disease or cold, were buried in that mass grave. Among them, several hundreds of French PoWs, about 2,000 Italian PoWs, who had been exhumated from a concentration camp in the village of Niwiski, were buried in that mass grave as well. Honor their memory.

We attended the annual concert "Siedlce for Jesus" on May 31, 2026, which took place on the huge parking lot of St.Joseph’s Church in Siedlce. This year it was the 9th annual concert “Siedlce for Jesus”. There were two huge TV screens with the lyrics of all the songs, and everybody could sing along. I must confess I had tears in my eyes. It was a blessing.

Those who, for various reasons, could not come to the annual concert of praise to our Savior had an opportunity, like in previous years, watched this event on TV. It was broadcast thanks to the kindness of the diocesan internet television FARO.TV.

151Worship group from Lublin sang many Christian songs on the stage. This musical group is described as, "This is a group of friends who join forces to praise the Lord with the talents He has given them. Through their creativity, they want to write another psalm: the 151st."