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1

Uwagi na temat problemów konserwatorskich rytowanej posadzki w krypcie kolegiaty wiślickiej

100%

Zalewski W.

Ochrona Zabytków

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1966

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issue 2

80-82

2

Konserwacja fresków w prezbiterium kolegiaty wiślickiej

100%

Zalewski W.

Ochrona Zabytków

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1968

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issue 3

45-51

FR

Les travaux de conservation des fresques du choeur de l ’église collégiale à Wiślica ont été entrepris à une grande échelle en 1961. Les travaux étaient menés par le groupe de conservateurs de l ’Atelier de Conservation des Oeuvres d’Art de la Section Cracovienne de l ’„Atelier de Conservation des Monuments historiques”. Les fresques de Wiślica exécutées au tournant du XIV—XV-e siècle sur l ’ordre du roi Władysław Jagiełło, appartiennent aux quatre décorations picturales d’origine russo-bizantique, conservées sur le territoire de la Pologne. La composition des peintures est développée sur 5 à 6 plans. Les plus grandes surfaces au-delà des supports de la voûte, représentent des scènes de la vie de la Sainte Vierge et du Christ, par contre au-dessus, sur des surfaces plus démembrées des murs ont été incrustées des figures allongées de saints. Les jouées des fenêtres et les parties supérieures des murs étaient recouvertes d’ornements géométriques et végétaux. En général, les fragments conservés de la polychromie constituent 40'% de la décoration originale des murs. Sur la voûte la polychromie ne s ’est pas conservée. Les peintures sont exécutées par la technique „al fresco” du type russo-bizantique. Le mortier était posé d’une seule couche directement sur les blocs en pierres d’après le système dit „à journée”. Il est d’une épaisseur de 3 à 10 mm. C’est un mortier de chaux avec une charge organique — fibres de lin coupées et une petite quantité de sciures de bois feuillu et de charbon de bois. Sur le mortier apparaît un dessin de contour peint en jaune. Il manque par contre le dessin empreint dans le mortier. Les couleurs constituent une palette typiquement de fresques. Les peintures, deux cent ans après leur exécution ont été recouvertes d’une couche postérieure. Elles ont été dévoilées au temps de la I-ère guerre mondiale, lorsque des fragments en sont apparus à l’issue de la destruction de l ’église. Au cours de la reconstruction de l ’église collégiale entreprise par A. Szyszko Bohusz en 1919—1931, il a été décidé que la polychromie serait mise à jour en entier. L’état de conservation de la polychromie après la deuxième guerre mondiale était fort mauvais. Environ 80% du mortier authentique tombait de l ’assise. Le mortier restait fixé sur l’abattis seulement en quelques endroits, par contre de grandes parties atteignant parfois 2 m2 de superficie n’étaient pas liés au mur. Le mortier même se distinguait par une grande résistance, une dureté et simultanément par une cohésion et une élasticité; grâce à quoi précisément de grandes parties de mortier fortement fendillées et émiettées continuaient à tenir. La polychromie était faiblement lisible en résultat de l ’enlèvement imparfait des couches ultérieures et à cause d’un grand salissement. On a appliqué deux méthodes de fixation du mortier sur la trame: des injections de dispersion aqueuse de polyacetate de vinyle (Movilith D) et la deuxième méthode consistait à fixer le mortier au moyen de clous. Ces derniers sont construits de la façon sulvan- ;e. 6 fils tressés constituent une tige placée dans la ;rame du mur, leurs extrémités sont disposées en rayons et terminées par des crochets qui retiennent le mortier sur une surface assez grande. Afin d’éviter la corrosion les clous ont été exécutés en alliage contenant 80% d’argent. Dans un mortier compact ils remplissent parfaitement leur rôle, ils sont en même temps presque invisibles et couvrent la surface minimale de la polychromie. Les bords du mortier original dont le décrépissement constituait une grande menace pour la peinture ont été fixés à l’abattis à l ’aide d’unè dispersion de polyacetate, consolidés en plus sur toute leur longueur par une fibre de chanvre collée sur l’abattis et sur le mortier. Sur cette protection on a posé un bandage de nouveau mortier. Toutes les parties manquantes du mortier original que l’on a décidé de compléter, ont été recouvertes d’une couche composée de: chaux avec une charge non-organique, de briques de chamotte broyées d’une couleur jaune pâle et d’une charge organique de fibres de chanvre coupées. Le nettoyage définitif de la surface de la peinture a pu être effectué seulement après l ’exécution des traitements de protection mentionnés. En présence de l ’état de conservation de la polychromie décrit plus haut, un problème important étaient l ’exposition et la définition de l ’étendue des complètements des peintures conservées. On a réalisé une série d’essais de diverses méthodes de complètements et de pointage, décidant finalement la solution suivante: les petites parties manquantes du mortier authentique qui troublaient la composition et effaçaient la lisibilité des scènes respectives ont été recouvertes d’une nouvelle couche de mortier. De grandes surfaces des murs dépourvues de polychromies ont été nettoyées, les pertes d’abattis complétées et la trame de l’abattis laissée découverte. On a estimé que la surface authentique de la trame de l’abattis gothique, crée un meilleur entourage pour les fresques conservées, que les nouveaux crépis posés même avec soin et assortis par leurs couleurs. Sur les parties manquantes de la peinture, dans lesquelles la couleur jaune découverte du mortier original défaisait la composition, on a décidé d’effectuer un pointage. Ces complètements ont été réalisés dans une couleur rapprochée à l’entourage original; toutefois la couleur était plus claire et la facture diversifiée. De cette façon l’original a été séparé des parties pointées. La solution de l ’exposition des fresques conservées a été dictée non seulement par l ’état de leur conservation mais aussi par la nécessité de nouer au programme général d’une nouvelle composition de l ’intérieur de l’église collégiale dans laquelle sont assemblés les monuments d’art d’une haute classe artistique, et appartenant à diverses époques historiques.

3

Problemy estetyczne konserwacji malarstwa ściennego u progu XXI wieku

100%

Zalewski W.

Ochrona Zabytków

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1991

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issue 3

151-153

EN

Murals are the most frequently ruined relics due to their close affiliation with architecture which in subject to constant transformations and devastation. The number of factors which adversely affect murals has been revealed best of all in the course of complex examinations of the Giotto murals in the Capella dell'Arena in Padua. Their mutual influence is the reason why murals more frequently undergo conservation. Upon their example, it is easier to observe the changes in aesthetic conceptions. On the one hand, tendencies towards treating murals as a decoration which can be arbitrarily repainted and supplemented have survived in Europe. On the other hand, a number of methods have been proposed which, in accordance with the general principle of respect for the original work, treat gaps and supplements in a manner which favours certain schemes and aesthetic simplificactions. Not always do they take into account the individual nature of each painting. Many centres for training conservationists, fascinated by the progress of research and realisation methods, have neglected the painting abilities and aesthetic sensitivity of the students of the art of conservation. There is also enormous chasm between the high level of work conducted by large European conservation centres, scientific institutes and museums, and the general level of the work performed by accidental workers. Today many murals are composed of only the lower layers, prepared by the author for the execution of the painting proper. The fashion in which they are displayed is a source of numerous problems and requires aesthetic decisions. Even more difficult is the situation when fragments of well-preserved painting exist alongside drastic missing parts. In those instances, many solutions produce „preparations" which make the painting illegible. The most serious difficulties for aesthetic solutions are created by murals of a decidedly illusionistic character, primarily from the seventeenth and eighteenth centuries. Frequently a shoddy execution of their lower layers is the reason for a number of irreversible gaps, which eliminate the proper effect of the paintings. In the last fiftty years, much has changed as regards the methods of punctation. The „trattegio" and similar methods have been adopted throughout the whole of Europe. A schematic application of those methods, however, and even particular regulation constitute a threat for the aesthetics of the supplementing paintings. Recently, however, it has been possible to notice a number of realizations in which the employment of „distinguishing" punctation is treated individually, in accordance with the character of the mural, and the devastations found thereon. One of the most prominent problems examined in the second half of our century is the mass-scale transfer of murals. Today, we are dealing with the number of places where such „saved" fragments of paintings are gathered. Those sad „cemetaries" testify to the greatly imperfect methods of removing murals and the unwise decision of conservationists. Only recently, attempts have been made to retain the original uneven surface of the painting in the course of its transference ( the work performed by Dr. Maria Ostaszewska in the Department of the Conservation of Artworks in the Academy of Fine Arts at the Academy of Fine Arts in Cracow ). In my opinion, at the beginning of the twenty first century conservation schemes and fashions will be rejected in favour of an individual approach to each mural, with due attention paid to its nature and state. It is also my view that the problem of the supplements and the display of murals will be suitably appreciated by all European conservation centres.

4

Dokształcanie podyplomowe konserwatorów na Studium Konserwacji Dzieł Sztuki, Akademii Sztuk Pięknych w Krakowie

100%

Zalewski W.

Ochrona Zabytków

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1971

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issue 2

138-139

EN

In the field of conservation may be observed a range of relatively rapidly occurring changes with regard to methods, materials applied and aesthetic requirements which result in alterations introduced to curricula designed for the conservator training. In consequence of the above changes arise the differences between the levels and resources of professional knowledge acquired by succeeding yearly groups of graduates which are becoming the more drastic with time elapsing from the date of graduation. Certainly, the conservators are augmenting their knowledge chiefly due to experience gained during th e ir professional activities, however, lit is the nature of conservator’s job itself, connected with the need of applying long-lasting treatments, th a t practically confines the development of perceptive abilities and leads to performing the work in form limited to a daily bread -an d -b u tter business. In several cases the conservators have to do their job far from larger professional circlds and the thus narrowed specialized range makes them unable to be duly orientated in a complete se t of problems and trends prevailing in conservation. Frequently enough some of them are forced to withdraw from profession for a longer or shorter period of time due to changes in their living conditions. The above features and occurrences have been often subjected to discussions within the conservators milieu in Cracow. Taking into account all these problems in 1970 it has been decided in the Conservation Department at the High School of Arts, Cracow to organize a systematic action of supplementary training for persons who graduated in this Department. The activities sta rted by the Department have taken the form of a three-day cycle of lectures combined with shows and discussions covering selected problems from different ranges of conservation and auxiliary disciplines which are held once a year early in spring or in the late autumn when the conservators, afte r completing their seasonal works, have more time at their disposal.

5

Katedra Konserwacji Malowideł Ściennych i Rzeźby Architektonicznej (1966-1990)

100%

Zalewski W.

Ochrona Zabytków

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1990

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issue 4

191-195

EN

Thanks to the initiative of Prof. Jozef Edward Dutkiewicz, PhD, in 1951 an Institute was established at he Department of Conservation of Works of Art at the Academy of Fine Arts in Cracow. The task of this school was instruction in the field of conservation of wall paintings in situ, as well as problems of their transfer. On the basis of these traditions, all basic lines of activity are continued until today. The Institute's organizational from today and the work carried out in it are a reflection of the goals that were taken up in the 1950's and 1960's. The Institute consists of seven organizational units conducting didactic, documentation and scientific work in their specializations. They are the following: the Laboratory of Wall Paintings conducting classes with students of the first years on imitation paintings in the laboratory, and in the summer season working on original paintings in churches and other historical buildings. Usually, this work is carried out in the Lower Silesia and in the Jelenia Gora and Legnica voivodeships. After the last year of studies, before beginning work on the thesis leading to a degree, there are practical studies on paintings in Northern Italy in the provinces of Brescia and Mantua. The second laboratory deals exclusively with the problems of transferring wall paintings. Thanks to its measures, many paintings have been saved, otherwise doomed to total destruction. Also, several solutions have been drawn up in the field of forming substitute bases and the ability to maintain the original surface and irregularities of the painting that has been taken down. In 1971 the Laboratory for the Conservation of Stone and Rock Sculpture was created, dealing with conservation of small forms of architectonic sculpture, such as the Romanesque and Gothic portals in churches of the Lower Silesia. The Laboratory of Inventory of Wall Paintings and Architectonic Sculpture is a laboratory where various forms of documentation are carried out through all the years of study at the department. This consists od measuring-drawing documentation, colour documentation and documentation obtained by photogrammetric methods. It concerns the inventory of structures according to their state of preservation and registration of executed conservation measurse. As part od student tasks, permanent inventories are undertaken in this laboratory, concerning discovered structures in the process of restoration of the old town in Cracow. The Archives functioning within the institute are a unit gathering in its collections much documentation on inventory and conservation work taking place at the Department and concerning paintings and sculpture originating from southern Poland. This is an important and frequently utilized source of information on the state and past appearance of many Polish art structures.

6

Konserwacja dzieł sztuki w Polsce

100%

Zalewski W.

Ochrona Zabytków

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1982

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issue 3-4

159-163

EN

The author is assistant professor in Monuments Conservation Department of the Academy of Fine Arts in Cracow, head of the section of wall painting preservation. He evaluates the development of conservation activities, their structure and organization of conservation training in the period from 1945 on. The period is divided into three distinctive stages. A characteristic feature of the first period lasting to the end of the fifties was the undertaking of enormous work resulting from war destruction. A leading role was played then by conservators educated in the pre-war period, assisted by young graduates from three higher schools of conservation. It was at that time that the most outstanding works of ancient art were brought for conservation. It was also then that the first teams in monuments conservation workshops emerged. The author describes the sixties as a period of a particularly intensive development of the discipline — both in the field of training young conservators, in setting-up and equipping new workshops, in significant progress in conservation techniques and means. Also at that time the leading role in higher schools and other workshops was overtaken by a young generation of professionalists formed in the fifties. A marked progress could be noticed then in technological studies. Conservation practice got linked very closely with exact sciences; contacts with foreign centres got also increased. The seventies are the period of stabilization. There was a marked increase in the number of research and didactic workers in higher schools. At the same time there arose new problems associated with conservation. Large work on the renewal of historic old town complexes brought about a new demand for investigators of plasters, painting layers and opened broad venues for conservation work in renewed buildings. Apart from that, there also took place a noticeable expansion of Polish conservators abroad; quite a lot of them left the country, both in teams associated within monuments conservation workshops and in private teams or even individually. More and more young people are applying to higher schools, as the profession of the conservator of works of art has become very attractive. There can be seen a clear disproportion between Polish requirements for qualified personnel and possibilities of higher schools. The attempts to train conservation technicians have not given, in the author’s view, satisfactory results. Too great number of technicians is engaged in all serious conservation works. The third period is characterized by a gradual disappearance of the sense of professional link amongst conservators. This, i.a., is the result of a disappearance of traditional conferences and other forms of meetings that were so popular in the past years. When analyzing the nature of modern conservation measures the author makes various comments. They concern both the form and scope of the documentation accompanying conservation procedures. The author emphasizes accurately a somewhat marginal nature of conservation of works of art, which stays behind work in the field of architecture and town planning. Not without a reason the author points out a high level of work on objects of art, much higher than the one found in work on immovable monuments (of course, the author has in mind the work carried out in Poland). The author is also right in emphasizing the development and achievement of a high level of conservation training as a permanent attainment of the Polish organization of the protection of cultural property. According to the author, the most important task for the nearest few years is to maintain that high level.

7

Problemy konserwacji wczesnośredniowiecznych reliktów gipsowych

63%

Zalewski W., Stec M.

Ochrona Zabytków

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1995

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issue 1

54-59

EN

The paper deals with conservation problems caused by early mediaeval antiquities composed of anhydrous gypsum plaster, a material often applied during this period in Polish and German territories. Our experiences are based on the conservation in situ of two objects. The first is an engraved surface of a floor in the crypt of the collegiate church in Wiślica (the region of Kielce). The middle part of the floor depicts Piast princes, symbolic animals and ornaments, and dates from the years 1170-1177. The second object is a tomb plate from ca. 1000, situated under the northern aisle of the cathedral in Gniezno; the extant three-quarters of the object are covered with an engraved inscription (Carolingian minuscule). Both monuments were discovered in 1959-1960 during excavations carried out as part of activities commemorating the millennium of the Polish state; the work was conducted by a Research Team on Mediaeval Poland (Wiślica) and the Management of Research into the Beginnings of the Polish State (Gniezno). A similar technique was applied in both cases; the two objects share a similar history prior to and following their discovery in the course of archeological excavations. Owing to their destruction and state of preservation they require highly untypical conservation. The negative aftermath of previous restoration forced the programme selected by the authors to take into consideration the hazards posed by excessive humidity and opt for the application of other conservation material. As a result, fundamental conservation was performed by using solely natural gypsum derivatives. Work in Wiślica and Gniezno was carried out in 1982-1987 and 1990, respectively.

8

Aleksandra Bogdanowska (1932-1989)

63%

Zalewski W., Gadomski J.

Ochrona Zabytków

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1989

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issue 3-4

288-289

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Uwagi na temat problemów konserwatorskich rytowanej posadzki w krypcie kolegiaty wiślickiej

Konserwacja fresków w prezbiterium kolegiaty wiślickiej

Problemy estetyczne konserwacji malarstwa ściennego u progu XXI wieku

Dokształcanie podyplomowe konserwatorów na Studium Konserwacji Dzieł Sztuki, Akademii Sztuk Pięknych w Krakowie

Katedra Konserwacji Malowideł Ściennych i Rzeźby Architektonicznej (1966-1990)

Konserwacja dzieł sztuki w Polsce

Problemy konserwacji wczesnośredniowiecznych reliktów gipsowych

Aleksandra Bogdanowska (1932-1989)