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1

Czerniakowskie freski po konserwacji

100%

Witwińska M.

Ochrona Zabytków

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1996

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issue 2

138-148

EN

In 1 9 8 6 -1 9 9 4 a team o f conservators from Warsaw, headed by Danuta Majdowa, conducted the conservation o f frescoes and stucco decorating the interior o f one o f the finest Baroque churches in Warsaw — the Bernardine church o f St. Anthony o f Padua in the Czerniakow district o f the town. The paintings and stucco were executed in about 1 6 8 8 -1 6 9 3 and founded by marshal Stanisław Herakliusz Lubomirski, outstanding patron o f the arts, poet and statesman. There were at least four painters involved but only the names o f Francesco Antonio Giorgioli and his brother, stucco master Carlo Giuseppe, both from Meride in the Ticino canton in Switzerland, are known. Conservation disclosed initials made in plaster presumably by the first o f the two artists. The exceptionally careful, exemplary conservation removed all dirt, repainting and retouches made during previous conservation as well as a layer o f wax, in this way revealing the original. The stratification o f the plaster was liquidated with the help o f injections o f polyvinyl acetate in water dispersion with an addition o f fine sand. The (concealed) bolts installed 4 0 years ago had fulfilled their task and integrated the plaster which was already then succumbing to stratification. The gaps in the foundation were filled with lime-sand mortar putty, while those in the painting layer were supplemented by resorting to the small dot method, totally resigning from imitative retouching. Thanks to thorough and perfectly conducted operations, the polychromy regained its original appearance and unique warm colour tones.

2

Kaplica Sykstyńska - badania, konserwacja, dyskusja

100%

Kwiatkowski K.

Ochrona Zabytków

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1990

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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.

3

Freski z XVI w. z Sali Radnych Ratusza Miejskiego w Świdnicy : kolejna konserwacja

84%

Wantuch-Jurkiewicz K.

Ochrona Zabytków

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2002

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issue 3-4

317-325

EN

The author discussed the conservation of sixteenthcentury frescoes in the Councilors’ Chamber in the Town Hall in Świdnica. The scenes depicting the Last Judgment, the Crucifixion and Judgment o f the Harlot present a high artistic level dating from the end of of the Gothic period and the beginning of the Renaissance. The purpose of the conservation, conducted for the fourth time since the discovery of the painting (1960), was to eliminate the effects of the unsatisfactory condition of the building during the past several years. Conservators concentrated basically on aesthetic issues, associated with a special adaptation of the interior for the purposes of a showroom in the Museum of Old Trading, housed in the Świdnica Town Hall. Corrections of old, darkened and lightened retouching were followed by coloured reconstruction on large patches of plaster, which up to now deformed the legibility of the composition. The presentation of the painting - an imitation of stone tracery - whose fragments were earlier discovered on the southern wall, supplements the dominating Gothic nature of the whole composition.

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3 Ochrona Zabytków

1 Kwiatkowski K.

1 Wantuch-Jurkiewicz K.

1 Witwińska M.

1 2002

1 1996

1 1990

Czerniakowskie freski po konserwacji

Kaplica Sykstyńska - badania, konserwacja, dyskusja

Freski z XVI w. z Sali Radnych Ratusza Miejskiego w Świdnicy : kolejna konserwacja