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PROBLEMATYKA TECHNOLOGICZNA I KONSERWATORSKA DZIEŁ MALARSKICH XAWEREGO DUNIKOWSKIEGO

100%

Rouba B. J., Arszyńska J., Doleżyńska E., Szelwach R.

Ochrona Zabytków

2005

issue 4

47-60

The reason for studying the paintings by Xawery Dunikowski was the conservation and restoration of six canvases from the large set of works by this artist, conducted by the Institute for the Conservation of Paintings and Polychromed Sculpture. The examined compositions included three canvas paintings, one collage, and two paintings on plywood, featured in the Królikarnia Branch of the National Museum in Warsaw. One of the plywood paintings was executed on both sides. Despite numerous conservation undertakings performed in the course of recent years, and encompassing not only the paintings under discussion but also the whole Królikarnia collection, so far no publications has discussed the conservation, technical construction, and execution technology of works by X. Dunikowski. The purpose of the presented operations was to offer basic knowledge which in the future will facilitate all sorts of ventures focused on the conservation, restoration and prophylactic protection of the artist’s oeuvre. The research has made possible a technical and technological analysis and an examination of the state of the preservation and conservation of the works of this prolific artist. At the same time, methods which could serve as a basis for the conservation of his whole oeuvre have been devised. The selection of paintings involved an attempt at creating a set which would present damage typical for all the Dunikowski paintings. The titular conservation and restoration posed a number of problems caused primarily by the artist’s approach to his workshop. The majority of the damage is the result of an incorrect choice of material. Certain sources indicate that Dunikowski relegated all technical issues to the sidelines, and apparently was unconcerned with the durability of his works. At the very outset, therefore, we should ask about the extent to which one should interfere in cases such as this, and the range of the ensuing conservation, as evidenced by the intense discussion about the unusual appearance of the painting entitled Abstract Composition with a Skull. It would be difficult to ascertain unambiguously whether the uneven canvas around the cardboard attached with stiff glue is the effect of the lengthy impact of atmospheric factors. Equally controversial proved to be the purposefulness of gluing and supplementing damaged corners in the Portrait of a Daughter (obverse) and the Portrait of a Girl (reverse). Since the artist painted the portraits on an already damaged base, such an undertaking would not be tantamount to a restoration of the original state, but constitute a creation. Ultimately, it was decided to opt for moderation in restoring the state of the monument according to our vision of its original condition. Certain technical and aesthetic problems are posed by the exposition of this two-sided painting, since the obverse had been executed across the rectangular plywood, and the reverse – longitudinally. The above considered examples of complex problems prove that in this particular case conservation was by no means routine. This experience made it possible to once again heighten our awareness of the fact that the conservation and restoration of modern art remain an open issue, and that questions which only at first glance appear to be of minor importance actually call for individual treatment.

Kult autentyczności i powrót do słowiańskich korzeni. Projekt rzeźbiarskiej dekoracji katedry Chrystusa Króla w Katowicach a mit cyrylo-metodiański

71%

Gorzelnik J.

Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce

2017

vol. 128

203-217

W roku 1927 w Katowicach, stolicy ustanowionej dwa lata wcześniej diecezji, rozpoczęto budowę katedry Chrystusa Króla, zaprojektowanej przez Zygmunta Gawlika. W tym samym czasie Xawery Dunikowski we współpracy z architektem przystąpił do prac nad koncepcją rzeźbiarskiej dekoracji fasady. Ich efekty w postaci gipsowego modelu zaprezentowano w roku 1931. Centralną część głównej elewacji świątyni zajmować miały figury świętych Cyryla i Metodego, flankowane przez grupy ludu i rycerstwa śląskiego. W zamyśle tym, który nie doczekał się realizacji, szczególnie wyeksponowano zatem postaci braci sołuńskich, mimo iż nie byli oni patronami kościoła ani diecezji. Przyczyn owego rozwiązania szukać należy w znaczeniach skondensowanych w micie cyrylo-metodiańskim, interpretowanych zarówno w kontekście górnośląskim jak i szerszym, związanym z organizowanymi w morawskim Welehradzie kongresami unionistycznymi i dążeniami do przywrócenia jedności między Rzymem a chrześcijań-skim Wschodem. Apostołowie Słowian symbolizowali poszanowanie „autentycznej” kultury ludu i w tej roli pojawiali się w narracjach słowiańskich nacjonalizmów, opierających się niemieckiej presji. Taki wymiar miała ich obecność w publicystyce polskiego działacza narodowego na Śląsku Cieszyńskim Pawła Stalmacha, a także w witrażu zaprojektowanym przez Włodzimierza Tetmajera na zlecenie księdza Aleksandra Skow-rońskiego dla kościoła w Ligocie Bialskiej na pruskim Górnym Śląsku w roku 1908. Przywołane znaczenia zachowały swą aktualność w projekcie rzeźbiarskiej dekoracji fasady katowickiej katedry. Okoliczności powstania świątyni pozwalają jednak przyjąć, że co najmniej równie istotną racją pojawienia się figur Cyryla i Metodego była polityka papiestwa, upatrującego w Rzeczpospolitej zaplecze misji wschodniej, której strategiczny cel stanowiła likwidacja schizmy. W tym kontekście bracia sołuńscy symbolizowali jedność Kościoła pod zwierzchnictwem biskupa Rzymu. Duchowieństwo polskiego Górnego Śląska Piusowi XI zawdzięczało powstanie swej diecezji. Manifestacją związków ze Stolicą Apostolską była nie tylko „rzymska” forma katedry, ale i jej wezwanie – to właśnie Pius XI ustanowił w roku 1925 święto Chrystusa Króla. Niezrealizowany projekt Dunikowskiego stanowi artystyczne świadectwo prób syntezy katolicyzmu i nacjonalizmu, afirmującego „autentyczność” ludu, oraz wyraz poparcia dla idei jedności Słowian skupionych pod duchową władzą papiestwa.

The construction of the Cathedral of Christ the King designed by Zygmunt Gawlik began in 1927 in Katowice, the capitol of the diocese established two years previously. Simultaneously, Xawery Dunikowski, in co-operation with the architect, began work on the concept of sculptural decoration of the facade. The effects – in the form of a plaster model – were presented in 1931. The central part of the main elevation was to be occupied by the statues of saints Cyril and Methodius flanked by groups of Silesian people and knights. In the project, finally not accomplished, the figures of Cyril and Methodius were most prominent despite the fact that they were not the patrons of the church or the diocese. The reasons for this solution should be sought in the meanings of the myth of Cyril and Methodius, interpreted both in the Upper Silesian context as well as a broader one, connected with the unionist congresses in Moravian Welehrad as well as aspirations to re-establish the unity between Rome and the Christian East. The Slavic Apostles symbolised the respect for the “authentic” culture of the people and appeared in this role in the narrations of Slavic nationalisms based on German pressure. Such was the significance of their presence in the writings of Polish national activist in Cieszyn Silesia, Paweł Stalmach as well as in the stained-glass window designed by Włodzim-ierz Tetmajer, commissioned by Rev. Aleksander Skowroński for the church in Ligota Bialska in the Prussian Upper Silesia in 1908. The above mentioned significance was present in the project of the sculptural decoration of the cathedral in Katowice. The circumstances of the construction point to the fact that the equally important cause for exposing the statues of Cyril and Methodius was the papal policy, which considered the Republic of Poland to be the background of the eastern mission, whose strategic aim was to terminate the schism. In this context, Cyril and Methodius symbolised the unity of the Church under the rule of the Bishop of Rome. The clergy of Upper Silesia owned the establishment of their diocese to Pius XI. The manifestation of the ties with Rome was not only the “Roman” form of the cathedral but also its patron – it was Pius XI who instituted the Feast of Christ the King in 1925. Dunikowski’s project constitutes an artistic evidence of an attempt at a synthesis of Catholicism and nationalism, affirmating the “authenticity” of the people and the endorsement of the idea of Slavic unity under the spiritual rule of the papacy.

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1 Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce

1 Ochrona Zabytków

1 Arszyńska J.

1 Doleżyńska E.

1 Gorzelnik J.

1 Rouba B. J.

1 Szelwach R.

1 2017

1 2005

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PROBLEMATYKA TECHNOLOGICZNA I KONSERWATORSKA DZIEŁ MALARSKICH XAWEREGO DUNIKOWSKIEGO

Kult autentyczności i powrót do słowiańskich korzeni. Projekt rzeźbiarskiej dekoracji katedry Chrystusa Króla w Katowicach a mit cyrylo-metodiański