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1

Pigmenty bitumiczne w malarstwie sztalugowym i związane z nimi kwestie konserwatorskie

100%

Rościszewska J.

Ochrona Zabytków

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1994

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issue 3-4

289-292

EN

Bituminous pigments — asphalt, Kassel earth, Cologne earth, Van Dyck brown and mummy — were employed from the beginning of our era up to the end of the nineteenth century. During the twentieth century and in the face of changes occurring under their impact in the nondrying layer of the painting, these pigments were almost totally excluded from the palette. Nonetheless, many paintings in which the original layer underwent numerous transformations, have survived up to our times. Changes in the painting layer which contains bituminous pigments cause darkening, fluence, wrinkling, fissures, the emergence of islets in the painting layer („crocodile hide”) and a network of small surface cracks. A survey conducted among conservators made it possible to distinguish three basic methods of treating mechanical changes in the painting layer: prevention, the use of solvents and the application of heat. Prophylactic operations (the assurance of suitable temperature and moisture) which could halt or hinder progressing transformations should be also kept in mind.

2

Uwagi na marginesie wystawy prac konserwatorskich E. i J. Wolskich w Toruniu

100%

Mansfeld B.

Ochrona Zabytków

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1977

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issue 3-4

160-161

3

Estetyczne problemy konserwacji malowideł ściennych

100%

Krzyżanowski L.

Ochrona Zabytków

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1990

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issue 1

53

4

Krótki zarys dziejów Wydziału Konserwacji Dzieł Sztuki Akademii Sztuk Pięknych w Krakowie (1950-1990)

86%

Dayczak-Domanasiewicz M.

Ochrona Zabytków

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1990

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issue 4

174-189

EN

The Cracow centre of higher education in the field of conservation of works of art is one of the three that have come into being in Poland after World War II, apart from the department of this field at the Academy of Fine Arts in Warsaw and the Institute of Historical Monuments and Conservation at the Nicolaus Copernicus University in Toruń. It is true that it has existed for 40 years, but its conservation thinking is much older, being present in other forms in the past of the Cracow Academy in the 19th cent, and the first half of the 20th cent. This is testified by the sporadic attempts to teach conservation (particularly in the field of. painting) undertaken in the 19th cent, and the organized form of study of painting techniques in the period of 20 years between the two world wars, thanks to the efforts of Prof. J. Hopliński, one of the later creators of the post-war Department of Conservation. Another illustration of the presence of conservation thought in the post-war tradition of the Cracow Academy is in the interesting results of teaching in the field of conservation of architecture at a time when two professors of architecture, Jozef Gałęzowski and Adolf Szyszko-Bohusz, were rectors. The joint achievement of architects and painters at that time was the restoration of the interior of the Royal Castle at Wawel, carried out under Prof. Szyszko-Bohusz The Department of Conservation of Works of Art was established in 1950 as a result of the merging of two of Cracow’s higher artistic schools: the Higher School of Fine Arts (WSSP) and the older Academy of Fine Arts that had traditions from the pre-partition times still. This unit was faced with the difficult task of working out the program outline for the artistic-scientific discipline newly forming in Poland.which conservation of works of art was at the time. Until then, achievements in this field in Poland had been sporadic, most often amateur and did not present any continuity of the didactic program on the national scale. The first organizers and creators of the Cracow Department of Conservation of Works of Art were already deceased professors of both combined higher schools of Cracow. In the majority, these were teachers from WSSP such as: Jozef Edward Dutkiewicz, PhD, Stanisław Jakubowski, Marian Słonecki, Wiesław Zarzycki, Władysław Cholewiński and from the Academy of Fine Arts — Jan Hopliński. However, the main creator of the Department's concept was the art historian, painter and conservator of paintings (mostly mural) — Jozef E. Dutkiewicz. The department trained students in two basic specializations: conservation of paintings and the conservation of sculpture, with a domination of paintings, and also in the field of painting techniques and technologies. For some time, also, there was a separate specialization in the conservation of graphic art, paper and books in the beginning (until 1961 ). However, this was closed down due to the shortages of space and faculty members. The didactic work of the 1950'e, determined by the situation of the country's material heritage at the time, concentrated mainly on problems connected with rescue work and documentation. However, with developing organization and with the progress of conservation knowledge, the program tasks were successively enriched with the analytical-research aspect. These new tendencies were manifested in the field of technical analysis of the material structure of a work of art, as well as in the development of the cognitive sphere in its artistic from and content. This maintenance of equilibrium between both spheres of theoretical research (in the exact and historical sciences) has existed from the beginning and still remains a characteristic feature of the didactic program of the Cracow training centre. In the field of conservation practice on the other hand, established as the basic aim of didactic undertakings, apart from improvements in conservation methodology and technology, particular emphasis has been placed on artistic arrangement for many years. In the mid-1960's, the basic organizational structure of the centre was finally crystallized and fixed, with a division into two institutes of conservation, combining the problems of the nature of the material. The school encompassed: the 1st Institute of Conservation of Wall Paintings and Architectonic Sculpture, the 2nd Institute of Conservation of Easel Paintings and Wood Polychrome Sculpture and the 3rd Institute of Technology and Painting Techniques (which from 1978 has broadened its didactic program to include the problems of sculpture). In 1972, the original from of the Department of Conservation of Works of Art was restored, with a simultaneous passing over to the system of a full five-year of study at the Academy. An expression of the Department's efforts towards total autonomy in the structure of the Academy was the establishment in 1975 of the 4th Institute of General art (drawing, painting and sculpture), headed by docent (assistant professor) Eugeniusz Wańko, and in later years until today — by docent Stanisław Wiśniewski. In both decades, the 1970's and 1980's, a dynamic growth can be observed in all the established lines of training, with particular emphasis placed on the research foundations in the exact sciences, perfected at the Institute of Applied Physics and Chemistry under Maria Ligęza, PhD. This development is accompanied by a vital involvement of the Depafment and its staff in the life of the community and in cooperation with other active circles, e.g. in the campaign of protection of the city's cultural heritage and restoration of its collections. For some time, the model of the Cracow school of conservation of works of art as a didactic centre has been arising interest of the authorities of various art institutions of higher education in western and eastern Europe. The frequent proofs of the competent activity of its graduates on the territory of various countries of Europe and outside of it strengthen its position. In spite of many shortcomings of an organizational and economic nature that hamper the natural development of the conservation centre of the Cracow Academy, this institution, during its forty-year existence has made a serious and significant contribution to the rescue and multiplication through discoveries of the Polish cultural heritage mainly in the field of historical paintings and sculpture. During the four decades, the Cracow school of conservation has managed to create its own style of didactic work, with an open and versatile attitude towards the complex probelm of rescuing historical works of art and restonng their value. I am convinced that the feeling of co-responsibility that the creators and continuators of the Department have had from the beginning for the fate of the material heritage of Polish culture, so much diminished by historical circumstances, is the foundation for activity that has determined the further development of the Cracow training centre in the field of conservation of works of art.

5

O metodach konserwacji zabytków architektury

72%

Saski K.

Ochrona Zabytków

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1962

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issue 4

90-91

6

Zmiany wyglądu punktowań w malarstwie sztalugowym : bielenie powodowane przez niektóre białe pigmenty

72%

Szmit-Naud E.

Ochrona Zabytków

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2000

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issue 1

69-76

EN

The milkiness of retouched blank spaces in easel painting constitutes a highly visible and relatively frequently observed change, which disturbs the aesthetic reception of a given work. In many cases, responsibility for its appearance should be placed on white pigments with photocatalytic properties, used for retouching. The author examined more than ten cases of milkiness by resorting to fluorescence and X-ray diffraction. The findings point to the presence of photoactive pigments: zinc white — zinc oxide, and titanium white — anatase titanium dioxide. Some of the registered changes came into being in the course of merely several years. Suitable information about the pigment composition of material used for retouching could enable conservators to limit the risk of causing future changes consisting of milkiness. With this purpose in mind, the analysis encompassed up to twenty white paints and pigments applied in conservation retouches. Many of them, due to their pigment composition, could produce changes that assume the form of milkiness and chalking.

7

Prace konserwatorskie przy wyposażeniu historycznym

58%

Paszkiewicz J., Voise I.

Ochrona Zabytków

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1962

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issue 3

107-114

8

Problemy konserwatorskie Krakowa w pierwszej połowie XIX wieku

51%

Ślesiński W.

Ochrona Zabytków

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1963

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issue 1

3-16

FR

L’article présent est l’extrait d’un ouvrage plus vaste. La forme abrégée des considérations avait obligée l ’auteur à se borner à deux problèmes: au style et à la méthode de restauration qui sont en quelque sorte le fondement des problèmes de la conservation de Cracovie dans les années 1800—1863. Les tendances vers le style classique et vers le style romantique qui paraissent dans cette période ont été illustrées par l’histoire de la conservation des monuments de l ’architecture à Cracovie. Les effets de l ’incendie de 1850, tragiques pour les monuments de Cracovie, ont provoqué non seulement l’animation du mouvement de conservation relatif à l’architecture; la commission nommée par la Section de l ’Archéologie et des Beaux-Arts de la Société Scientifique de Cracovie s ’est occupée aussi des mobiliers d’art. Dans la deuxième partie de l ’article l ’auteur s ’occupe des évolutions difficiles à découvrir, survenues dans la méthode technique de conservation. Il remarque certaines modifications de la technique de conservation des monuments dans cette époque dans „Skazówka mogąca posłużyć w poszukiwaniach archeologicznych” (’’Indication pouvant être utile dans les recherches archéologiques”), publiée par la Société Scientifique de Cracovie. L’auteur s’occupe également de l ’acquisition de l ’art de conservation. Ensuite il énumère plusieurs noms de conservateurs, peintres, sculpteurs, architectes, presque inconnus jusqu’à présent dans la litté rature professionnelle.

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8 Ochrona Zabytków

1 Dayczak-Domanasiewicz M.

1 Krzyżanowski L.

1 Mansfeld B.

1 Paszkiewicz J.

1 Rościszewska J.

1 Saski K.

1 Szmit-Naud E.

1 Voise I.

1 Ślesiński W.

1 2000

1 1994

2 1990

1 1977

1 1963

2 1962

Pigmenty bitumiczne w malarstwie sztalugowym i związane z nimi kwestie konserwatorskie

Uwagi na marginesie wystawy prac konserwatorskich E. i J. Wolskich w Toruniu

Estetyczne problemy konserwacji malowideł ściennych

Krótki zarys dziejów Wydziału Konserwacji Dzieł Sztuki Akademii Sztuk Pięknych w Krakowie (1950-1990)

O metodach konserwacji zabytków architektury

Zmiany wyglądu punktowań w malarstwie sztalugowym : bielenie powodowane przez niektóre białe pigmenty

Prace konserwatorskie przy wyposażeniu historycznym

Problemy konserwatorskie Krakowa w pierwszej połowie XIX wieku