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EN
Walls of a parish church of StSt Peter and Paul at Hanna in Bielsko Biała voivodship are covered with late baroque polychromy on canvas, done before 1791 and depicting illusionistic architecture. Done in a distemper technique, nailed and glued to wooden walls of the church the paintings were the subject of conservation carried out by the Atelier for the Conservation of Paintings at a Warsaw branch office of the State Ateliers for Monuments’ Conservation in 1976—1984. At that time altar and portal compositions in the nave as well as polychromy in a church porch were subjected to conservation. A very poor condition of paintings was mailny caused by harmful atmospheric effects and frequent, not always properly done, repair work in the interior; in many places canvas was torn, corrugated and partially rotten; painting’s layer and mortar were scaled, with extensive losses of the material. There existed two layers of paintings at least. After their removal from church walls and drying out, the paintings were brought to Warsaw and cleaned from repaintings by means of, where necessary, compresses of dimethyl formamide, compounds of ammonia, acetone and spirit as well as water dressings and then mechanically finished out with .scalpels. After cleaning the reverse and straightening the canvas gores, paintings were doubled on new linen cloth, on vinyl polyacetate in water dispersion. Doubling was carried out by hand depending on the size of gores or on a doubling table. In places with large missing parts on canvas patches were glued in. Missing parts in a mortar layer were also made up with chalk and glue putties, while missing parts in a painting’s layer were stippled with distemper paints on yolk adhesive. The background was stippled in one colour and in some parts local reconstruction was done. After conservation, paintings were transferred to the church and nailed to wooden listels screwed to the wall, with necessary space left between the cloth and the wall face.
EN
The presented series of articles describes a genesis, construction, development and use of a low-pressure table for doubling the paintings and also its other applications in the conservation of works of art. Because the conservation of paintings involves such factors as pressure, raised temperature, moisture and canvass stretching, they have to be approached with far-going caution. A common use of heated tables, usually referred to in Poland as vacuum tables, is associated with too severe work conditions. Therefore, studies have been carried out for years to find new solutions. They have resulted in designing a low-pressure doubling table. Its construction is very simple and it allows to carry out various types of conservation work in which the above listed factors are used in a well-controlled way. This allows also to avoid doubling, restricting thus conservation activity to a permanent strengthening of the object and its protection through impregnation. The unit can also be employed in the conservation of textiles and graphics. So far, it has been modified and improved many times. W. Mitka describes a portable unit for the conservation of paintings, which may also be used in the conservation of mural paintings A. Mitka discusses a low- pressure attachment to be used with an ordinary vacuum table and the use of a perforated plate in this type of units.
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