The domestic (homeland, native) populations-breeds of pigs are grown in certain region and/or country as local, primitive breeds. In Poland following 3 pig breeds are considered as native: Pulawska, Zlotnicka White and Zlotnicka Spotted. The aim of this study was the assessment of the quality of meat and traditionally smoked tenderloins obtained from meat of native pigs breeds bred in a traditional way. Meat analysis showed that the highest fat content values were present in Zlotnicka Spotted (4.60 ± 0.33) and White (3.63 ± 0.41) while the lowest in Pulawska (2.78 ± 0.29). Smoked tenderloins shear force differed statistically. The hardness values were the highest for Zlotnicka White (65.66 ± 6.46) and the lowest for Zlotnicka Spotted (33.27 ± 4.12). Similar shear force values were recorded: the highest in Zlotnicka White (51.90 ± 7.11) and the lowest in Zlotnicka Spotted (30.43 ± 5.54). Regardless of the results obtained, meat products have good acceptance of sensory assessment test and low level of polycyclic aromatic hydrocarbons. We conclude that the meat of Pulawska, Zlotnicka White and Spotted breeds of pigs is a good quality raw material used for production of traditional and regional meat products gaining high sensory scores and good recognition among consumers. The traditionally smoked tenderloins produced from meats of above breeds, were characterized by very good quality parameters.

The problem of the condition of artists in Poland is rarely addressed in public debate, which is particularly surprising in the world of growing disproportion between rapid development of the art market (the number of galleries, rising prices of auctioning) and still financially unstable and difficult situation of artists. The paper attempts to look at the economic and social status of Polish artists through the analysis of the artistic work of a Polish artist Joanna Rajkowska who tries to find her position in the socio-economic system, without giving up her creative activity. At the end of the paper the author will try to answer the question whether socially engaged art can bring about major changes in the system of financing art.