“Jacek Lipowczan signs his paintings as ‘JALI’. Jacek Lipowczan born in September 1951 in South Poland, studied on the Academy of Fine Arts in Cracow and graduated in 1976 obtaining his Master of Art Degree in the Grafic Design in the atelier of Professor M. Wejman. His experience as junior scene designer in the team of Polish film Director Kazimierz Kutz introduced him to the works and projects of Andrzej Majewski. The fairy tale imaginative works of this Artist strongly influenced Jacek Lipowczan’s future creativity and his artistic imagination.” [. . .] –Jacek Lipowczan, Jacek Lipowczan Magical Dreams, 2018
In 1997, Polish and Italian artists staged an adaptation of the Inferno at the Franciscan Church in Kraków. Pictured is the poster for the show, created by Rafal Olbinski.
“Polish poet and filmmaker Lech Majewski is hard-pressed to follow The Mill and the Cross, his stirring 2011 recreation of Pieter Bruegel’s painting The Way to Calvary set in occupied Flanders of the 16th century, with an equally spell-binding subject. In Field of Dogs he exchanges the previous film’s broad historical and theological canvas for a less compelling tale of intimate personal suffering in the aftermath of a car accident. But admirers of erudite films will be comforted to find that Dante’s Divine Comedy provides the guiding thread through a gossamer narrative, one that fights a steep uphill battle to interest the viewer in the protagonist’s pain and redemption.” –Deborah Young, “Field of Dogs: Filmart Review,” The Hollywood Reporter, March 27, 2014
Irena Lisiewicz, a professional artist and costume and set designer, created a project entitled Purgatorio Image Theatre (2009-2013), inspired by Dante Alighieri’s The Divine Comedy. To learn more about Lisiewicz and her works, view her LinkedIn profile, a Slideshare of her project Purgatorio Image Theatre, and a Picasa Web Album of her artwork.
“Among his other plays are “Rejoinder,” “Reminiscence” and “Dante,” the latter based on the journey through the realms of the dead in the 14th-century Divine Comedy but laced with Mr. Szajna’s depictions of 20th-century hellishness.” –Dennis Hevesi, The New York Times, June 30, 2008