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1
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Kaplica Sykstyńska - badania, konserwacja, dyskusja

100%
Kwiatkowski K.
Ochrona Zabytków
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1990
|
issue 2
84-90
EN
The decision to renovate the vaulting of the Sistine Chapel was undertaken in 1 980. Due to the increasing air pollution in Rome and the loosening of the wall plaster, there was fear that certain parts of Michelangelo's painting would be damaged. The preservation work was planned for 12 years and assigned to one conservator, head of the studio for the preservation of paintings in the Vatican Museum - Gianluigi Collaluci. The current preservation work is in fact the third undertaking in the chapel's history that aims at a thorough cleaning of the vaulting. It is also the first for over two centuries and was preceded by thorough laboratory studies of the frescoes. The results of these studies made it possible to work out the proper techniques and methods of preservation. Already at the moment of setting up the scaffolding underneath the vaulting, questions arose whether the painting work should be submitted to preservation measures, or whether these would cause irreversible changes. As subsequent scenes were uncovered by the conservators, the discussion became more heated. The author of the article gives many arguments of the opponents as well as supporters of the current preservation methods. A full evaluation of the effects of these undertakings will be possible only with their completion, when the entire vaulting can be viewed.
2
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Freski i murale – historia Detroit w obrazach

100%
Ferenc T.
Władza sądzenia
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2020
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issue 19
218-263
3
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Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork

94%
Tracz S.
Perspektywy Kultury
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2020
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vol. 30
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issue 3
151-178
PL
Biskup warmiński Krzysztof Andrzej Jan Szembek ze Słupowa (1680–1740) przy archikatedrze we Fromborku ufundował kopułową kaplicę relikwiarzową pw. Najświętszego Salwatora i św. Teodora Męczennika (Teodora z Amazji), zwaną także Szembekowską. Całość wnętrza kaplicy pokrywają freski wyko­nane około 1735 roku przez Macieja Jana Meyera (Matthiasa Johanna Mey­era) z Lidzbarka Warmińskiego. Wykształcony w Italii artysta wykonał poli­chromię w typie malarstwa iluzjonistyczno-architektonicznego określanego jako kwadratura. W dolnej części kaplicy przedstawiono popiersia świętych oraz w całej postaci św. Teodora z Amazji, a w czaszy kopuły adorację Trójcy Świętej oraz Krzyża Świętego przez Matkę Boską i świętych. Poprzez metodę porównawczą omówiono dekorację kaplicy w kontekście zagadnień malar­stwa kwadraturowego rozwijającego się we Włoszech, a następnie w Europie Środkowej, zwłaszcza pod koniec XVII i w I połowie XVIII wieku. Ważną rolę w tym zakresie odegrał Andrea Pozzo (1642-1709) oraz artyści, którzy z Italii pochodzili bądź też tam studiowali malarstwo, jak Maciej Jan Meyer. Wskazano pierwowzór dla dekoracji kopuły kaplicy, którym są freski z lat 1664-1665 Pietra Berrettinieo da Cortony w kopule Santa Maria in Valicella w Rzymie, a także dla medalionów z popiersiami świętych wzorowanych na strukturze ołtarza głównego z lat 1699–1700 w kościele Krzyża Świętego w Warszawie, ufundowanego przez pierwszego mecenasa Meyera biskupa Teodora Potockiego, prymasa Polski.
EN
The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Mat­thias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural paint­ing known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Pol­ish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the fres­coes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints mod­eled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.
4

Freski w grzędzickiej świątyni - "zapomniany" zabytek średniowiecznej sztuki kościelnej

84%
Grygowski D.
Colloquia Theologica Ottoniana
|
2019
|
issue 1
41-57
PL
Świątynie znajdujące się na terenie diecezji szczecińsko-kamieńskiej zawdzięczają w większości swój wystrój protestantom, którzy w końcu XVI i na początku XVII wieku, czyli po przyjęciu w 1534 roku na sejmiku w Trzebiatowie przez szlachtę zachodniopomorską wyznania luterańskiego, przejęli katolickie kościoły tej ziemi. Dlatego ich wystrój jest bardzo ascetyczny w swej formie. Tym bardziej wartościowe w naszych czasach są te zabytki sztuki sakralnej, które praktycznie w niezmienionej średniowiecznej formie przetrwały do dziś. Takim właśnie zabytkiem są freski znajdujące się w niewielkim wiejskim kościele pw. św. Apostołów Piotra i Pawła w Grzędzicach. To dzieło anonimowego artysty, choć mało znane miłośnikom średniowiecznej sztuki, może być przedmiotem wielkich doznań estetycznych. Freski z Grzędzic powinny być bardziej obecne w przewodnikach opisujących dzieła sztuki Pomorza Zachodniego.
EN
The temples in the Szczecin-Kamień Archdiocese owe much of their décor to Protestants, who at the end of the 16th and the beginning of the 17th century, that is after the acceptance of Lutheran confession in 1534 at the regional council in Trzebiatów by the West Pomeranian nobility, took over the Catholic churches of this land. That is why their décor is very ascetic in its form. All the more valuable in our time are the relics of the sacred art that have survived to the present day in virtually unchanged Medieval form. Such a relic is frescoes located in a small rural church devoted to St. Apostles Peter and Paul in Grzędzice. This work of an anonymous artist, though little known to lovers of Medieval art, can be tan object of great aesthetic experiences. It would be valuable for the frescoes from Grzędzice to be more present in the guidebooks commemorating various types of works of art that can be seen in the West Pomeranian Province.
5
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Przyczynki do historii ściennych malowideł bizantyjsko-ruskich w Polsce : technika i konserwacja

84%
Stawicki S.
Ochrona Zabytków
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1994
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issue 1
3-21
EN
The Byzantine-Rus’ murals which were created in the Crown and Lithuania between the turn of the fourteenth century and the mid-sixteenth century hold a special place in Polish history and art. They remain fascinating not only from the ideological-artistic point of view but also as regards their technical-technological and conservation aspects. This article presents a review of knowledge concerning the technique of the murals’ execution and the problems connected with their conservation which are available in accessible source material and literature published prior to the second world war. The article discusses studies on the non-extant painted decorations of the Benedictine Holy Cross church in Łysieć and the royal bed chamber in Wawel Castle (commissioned by Władysław Jagiełło from Rus’ artists), the surviving fragments of murals from the Uniate church in Supraśl (middle of the sixteenth century), the murals in the Sandomierz collegiate, founded by Władysław Jagiełło, the murals in the castle in Troki (fifteenth century?) of which only fragments of the original plaster have survived, murals in the Holy Trinity church in Lublin castle and the Basilian church in Supraśl, the decorations of the Holy Cross chapel in Wawel cathedral, paintings in the cathedral in Sandomierz, fragments of decorations in the Armenian cathedral in Lvov and the collegiate church in Wiślica. Sources mention high quality material which testify to the rank of the commissions and the rank of the wall decorations in question. The material included gold leaf (hammered gold) applied probably in all Byzantine-Rus’ paintings produced in the former Kingdom of Poland and Lithuania; the so-called rubrica — red clay, understood broadly as natural combinations of silicates and iron oxides; vermilion — a red pigment in the form of a natural mineral or prepared artificially; a group of pigments indispensable for the production of paints used for completing the paintings by stages by placing consecutive patches of light hues and dark emphasis; vessels (most probably non-absorbent) for storing liquid paint — the number of such vessels corresponded more or less to the number of colours required for the execution of a given painting. As a rule, the technique of the murals was determined „by intuition” which often led to serious misunderstandings. Certain scholars (M. Sokołowski, J. Rokoszny) revealed, however, apart from considerable intution also a correct comprehension of the Byzantine-Rus’ treatises on painting technique. Attempts were also made to draw conclusions upon the basis of chemical analyses which, in accordance with existing laboratory facilities, were modest but thorough (W. Peszczański, P. Cholodny). In the domain of conservation, the classification of the technique of the Byzantine-Rus’ paintings by J. Makarewicz to the tempera group (accepted also by Matusiak, Rutkowski and others) influenced the reinforcement (not always desireable and rather harmful) of the paint layer with diluted distemper, probably egg. Acetic acid was used for the removal of calcareous residues of plaster. The painting was disclosed with the aid of a thin layer of gypsum introduced onto the surface of later layers and then chipped off together with them. Disclosure was also accomplished by a more direct method based on the use of knives, hammers and spatulas. Blistered plaster was fastened onto the wall with nails as well as liquid gypsum which filled the spaces between the plaster and the wall. Artistic-aesthetic solutions reveal a tendency towards obtain ting proper artistic expression i.e. one which would take into consideration both the authenticity of the work of art and the state of its preservation. So-called neutral patches are employed, and recommended in those parts of the painting which are totally ruined and provide no bases for reconstruction. The reflections of A. Riegel show distinct beginnings of conservation critique which can be discerned also in the remarks and directives of the Russian Imperial Archeological Commission concerning the Supraśl murals. It must be stressed that regardless of the discrepancies between the emerging professional ethics and conservation work which in many instances was unsatisfactory, one simply must notice the permanent progress of conservation thought in Poland. A brief survey of source material and various studies proves that our contemporary technical-technological and conservation knowledge — if only as regards Byzantine-Rus’ murals — has a rich tradition and deserves our attention.
6
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Włoska technika a bianco di calce na przykładzie bielańskich fresków Michelangelo Palloniego

84%
Sawicki T.
Ochrona Zabytków
|
1997
|
issue 3
239-249
EN
The conservation of frescoes by Michelangelo Palloni — Sacrifice of Solomon, St. Benedict and St. Romuald (last quarter of the seventeenth century), decorating the vault of the sacristy of the post-Camaldolite church in Bielany (Warsaw), conducted at the end of 1996 by Joanna Polaska and Tytus Sawicki, provided an opportunity for becoming familiar with a number of details concerning the Italian a bianco di calce technique, described in Polish terminology as the Baroque or lime fresco. The intention of the article is to present upon the example of the Bielany paintings the origin and characteristic of the Baroque fresco, and to demonstrate connections between the artistic workshop of Palloni and the techniques of the greatest Italian fresco artists of the seventeenth century. The comparative material includes, apart from the Bielany polychromies, other works by the Florentine painter working in Poland as well as the works of Pietro da Cortona and his pupils, the so-called Cortonists, who include two of Palloni’s teachers — Baltassare Franceschini, known as Volterrano, and Cirro Ferri. The author discusses examples of paintings from the Mannerist period, the transitional stage between the Renaissance buon fresco and the impasto Baroque fresco. The Bielany paintings disclose particular stages of the work executed by a Baroque author of frescoes, in other words, the technology and technique of producing the plaster, methods of transposing the drawing, and the painting technique. The lime-sand plasters were placed in two layers — arriccio and intonaco. The paintings in question include three methods of transposing the drawing: embossment in fresh plaster, etching directly in the plaster, and freehand. The characteristic features of the Palloni technique include a rapid and skillful mode of painting (the so-called pittura di getto) and the introduction of frequent changes and corrections (numerous pentimenti ). The artist first of all freely executed on the fresh intonaco subpainting with red paint, on which, after a certain interval of time, he placed thick, concealing paint obtained from a mixture of pigments and lime. Technical errors in the use of lime paint were the reason for powdering certain parts of the Sacrifice of Solomon. Upon many occasions, the painter worked on the chiaroscuro with the aid o f strokes. The following pigments were identified in the Bielany frescoes: carbonate of lime, charcoal, brown and red iron oxides, ochre and smalt.
7
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Cerkiew Zwiastowania NMP w Supraślu i jej freski

84%
Straczyński K.
ELPIS
|
2022
|
issue 24
75-79
EN
The Church of the Annunciation of the Blessed Virgin Mary in Suprasl is the example of a medieval, monumental defensive temple. In the first half of 16th century the decoration of the wall started, with wall paintings, in the style of the Orthodox Church. The Iconographic programme of the church was based on the symbolism and allegories from the Holy Bible. It also helped in the process of Christianisation of the society. It showed the content of the gospel, the hagiographies of saints and the activity of individual Church Fathers and bishops. The ornaments of the paintings separated the zones of imagination, decorated the panels formed by the vault and groin ribs and curled rows of medallions. Despite the destruction of World War II, several dozen fragments of polychromes have survived and have been reconstructed from the destroyed church.
PL
Cerkiew Zwiastowania NMP w Supraślu jest przykładem średniowiecznej, monumentalnej świątyni obronnej. W I poł. XVI w. rozpoczęto ozdabianie ścian świątyni malowidłami ściennymi, w stylu sztuki prawosławnej. Program ikonograficzny cerkwi bazował na symbolice i alegoriach z Pisma Świętego. Pomagał w procesie chrystianizacji społeczeństwa. Ukazywał treść Ewangelii, hagiografie świętych oraz działalność poszczególnych Ojców Kościoła i biskupów. Ornamenty malowideł rozdzielały strefy wyobrażeń, zdobiły pola utworzone przez same sklepienia i żebra oraz owijały rzędy medalionów. W wyniku zniszczeń II wojny światowej ze zniszczonej cerkwi ocalało i zostało zrekonstruowanych kilkadziesiąt fragmentów polichromii.
8
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Szesnastowieczne pobizantyńskie freski z Supraśla w świetle dokumentacji konserwatorskiej – historia zniszczeń

84%
Stawecka K., p., Ławreszuk M., Kostiuczuk J., Ignatiuk K., p., Ławreszuk M., Ignatiuk K.
ELPIS
|
2017
|
issue 19
PL
Artykuł poświęcony jest historii unikatowych, szesnastowiecznych pobizantyńskich fresków supraskich. Znajdziemy w nim próbę określenia czasu powstania dekoracji malarskiej cerkwi Zwiastowania Bogarodzicy w Supraślu, głównej świątyni zgromadzenia monastycznego, a także jej autorów. Zasadnicza część tekstu zawiera opisy kolejnych etapów degradacji polichromii, poczynając od uszkadzających ją nowych elementów wyposażenia wnętrza, pojawiających się w siedemnastym wieku (ikonostas,ołtarze boczne), poprzez zakrycie malowideł w XVIII w. tabulaturą i całkowitą zmianę wystroju architektoniczno-malarskiego prezbiterium,skończywszy na niemal doszczętnym zniszczeniu fresków w czasie II wojny światowej. W części tej znalazły się również odniesienia do zabiegów restauratorskich prowadzonych nad tym zabytkiem od końca XIX w. Omówienie działań ratujących ocalałe fragmenty malowideł, prowadzonych w powojennej rzeczywistości oraz dokumentacja prac konserwatorskich jakie miały miejsce w latach 1964–1965(66), jak również w 2012 i 2014 r., zamyka to opracowanie.
9
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Dzieje konserwacji malowideł w cerkwi pw. św. Onufrego w Posadzie Rybotyckiej

67%
Gronek A.
Ochrona Zabytków
|
2009
|
issue 4
5-16
EN
In May 1966 the conservation workshop of the Museum of Folk Architecture in Sanok under the guidance of Wojciech Kurpik started to examine the recently discovered Ruthenian paintings in the Venerable Onuphrius Orthodox Church in Posada Rybotycka. Uncovering and conservation works were continued in the summer of 1966 and in the autumn of 1967. Large parts of paintings were uncovered, the composition scheme was identified, the technique was determined as a mixed fresco 6c tempera technique, and even the paintings time of creation (16th century) was identified. Traces of two major renovations were also discovered. Significant stylistic differences between paintings in the presbytery and in the aisle were noticed. It was determined that, apart from mechanical reasons, the main causes of destruction of the paintings were the humidification of walls caused by the destruction of the roof and the use of organic binder, which had been decomposed by microorganisms and the powdered paint had dropped off the primer. The discovery and identification of inscriptions scratched in plaster on the vestibule walls was a matter of key importance. These are mainly names and year dates, e.g. the oldest dates: 1501 and 1506, which suggest that the time of erection of the Orthodox church should be shifted at least to the 15th century. At the same time, archaeological research was carried out around the church and in the church hill, and anthropological research was carried out at the church cemetery. Wojciech Kurpik finished his work in October 1967 and further research was to lie continued by the Historic Object Conservation Workshop in Krakow under the direction of Władysław Zalewski; however, documents contain no records that would prove the undertaking of any further polychrome- -related works. In 1977 the Orthodox church was taken over by the District Museum in Przemyśl. In the years 1983-1985 conservation works were carried out by Plastyka, a Warsaw-based company, under the direction of Małgorzata Wesołowska-Nowosielska. At that time, polychrome was uncovered, partly cleaned and secured in the entire church; the missing plaster was supplemented with lime mortar in the presbytery, and lime 6c sand trims were installed in the aisle. In 1884 Dr Janusz Lehmann carried out stratigraphie and laboratory research. The structure, mineral and chemical constitution of the plaster layer, which paint layers were placed on, is similar to those used in Europe in Renaissance times, but the technique is consistent with the late Byzantine tradition and paintings of south-eastern Orthodox Europe. In 1986 Małgorzata Wesołowska-Nowosielska included results of conservation works in her doctoral dissertation presented at the Academy of bine Arts in Warsaw. The paintings did not constitute the primary decoration of the church interior. The walls were originally covered with a double layer of zinc white, which was only later covered with polychrome. The same original plaster covers all church walls, the vault and both sides of the templon, which indicates that it had been present since the very beginning. The mineral composition ol the plaster is not consistent with the tradition of Byzantine- -Ruthenian painting. This means that craftsmen laying the brown coat represented local techniques rather than eastern or southern techniques. Conservation works were continued in the years 1986-1988 under the direction of Barbara Kaniewska. At that time, frescos in the presbytery were cleaned thoroughly, cement 6c lime patches were removed, and the missing plaster was supplemented. Finally, retouching works were performed for consolidation purposes. Conservation works were closed in 1991, when Józef Steciriski completed the protection of painting residues over the church vestibule. Additionally, the passage leading from the inside of the main church aisle was reconstructed and stone stairs leading to it from the outside were demolished. Uncovering and conservation works that were finished towards the end of the 1980s were not continued later. Scaffolds in the aisle are the only things left of them.
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