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1

Zakres diagnostyki w konserwacji malarstwa ściennego

100%

Mazur A.

Ochrona Zabytków

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1997

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issue 3

256-257

EN

The author draws attention to the particular significance of a thorough distinction of factors shaping the conditions that influence murals, prior to the setting up of conservation programmes concerning historical objects. Mentions is made of the necessity for extensive control of buildings decorated with polychromy, and their surrounding. The article places emphasis on the importance for the durability of the object of the awareness on the part of its administrators of the consequences of planned repair and installation undertakings. This pertains especially to control of the existing and newly introduced heating, sewage, thermal insulation, anti-dampness and drying systems as well as others, which exert a long range impact upon changes in the conditions of the surrounding of murals. The attention of conservators should be also attracted to all preparations introduced in the course of conservation and repair into brick constructions and wooden elements of edifices, as well as their subsequent assessment from the point of view of future effects for the polychromy. This task belongs to the duties of conservators of murals to a degree much larger than in cases of transferable objects. Finally, the author stresses the importance of those factors in the training of conservators since a superficial approach renders the effects of conservation short-term.

2

Konserwacja malowideł ściennych w zamku w Lidzbarku Warmińskim w latach 1955-1985

100%

Tytus-Wańkowska J.

Ochrona Zabytków

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1990

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issue 1

23-27

EN

The article is an attempt to show the thirty-year-long activities of restorers aiming to protect the group of wall paintings in the castle in Lidzbark Warmiński. The castle was built as the seat of the bishops of Warmia in the years 13 5 0— 14 00. It is one of the most beautiful Gothic structures in Poland. The castle interiors had a wealth of paintings. These came from various periods: from the end of the 14th cent, until the end of the 15th cent., and from the 18th cent, (wh en the castle interior underwent adaptation). The first restoration-construction work was begun in 1 8 96. In the course of it Gothic paintings were uncovered on the walls. Restoration work on a greater scale was taken up later, in 1 9 2 4 and was completed in 1 9 39. The first restoration work after the war was begun already in 1 9 5 3 . In 1 9 5 6— 1 9 6 0 the paintings in the lower parts of the chapter-house wall were uncovered, preserved and protected. In 1 9 6 8— 1 9 6 9 students and staff of the Fine Arts Restoration Department of the Mikołaj Kopernik University in Toruń investigated and unveiled a painting on the cloister vaulting: in 1 9 6 8 in the north and west wing, and in 1 9 6 9 in the east wing. At the same time, the Szczecin Branch of the Ateliers for Conservation of Cultural Property carried out architectonic studies of the castle, which revealed the presence of many paintings under the wall plaster layers. These were from the 1 5th to the 18th cent, and included, among others, the currently totally uncovered wall paintings in the Kredens room of the chapel and paintings on the vaulting of chambers in the north wing and in the Small Refectory. In 1 9 7 9 wide-scale restoration work was commenced on the Scene with Bishop Anzelm and paintings with the coats of arms from the castle cloisters. In 1981 complex work was begun on the painting decoration of the Samll Refectory. First the Gothic decoration in the vault ribs was uncovered. Next, its restoration was carried out along with the colour integration of the losses in the painting layer. This work lasted until 1 9 8 3 . All work conducted in the period from 1 9 7 9 to 1 9 8 3 was done by restorers of the Ateliers for Conservation of Cultural Property from Olsztyn.

3

Konserwacja malowidła "Chrystus w Tłoczni Mistycznej" w zakrystii kościoła NMPanny w Stargardzie Szczecińskim

75%

Wójcik S.

Ochrona Zabytków

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1983

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issue 3-4

260-264

EN

A Gothic painting "Christ in a Mystical Press”, hanging onthe west wall in the vestry of St Mary’s Church in Stargard Szczeciński, dates back to 1400. Hie painting on the west wall in the vestry of St Mary’s Church depicts Christ embracing the Cross and standing on the press for grape squeezing as well as Our Lady kneeling on the righ side. In 1971 the left part of the painting was ruined unintentionally by taking the plaster off the base. There remained a few thousand pieces of plaster in different sizes ranging from 1 dem* to 0.5 cm*. After numerous attempts to rescue the painting, basing on a protograph from before 1945 the drawing (in 1:1 scale) was put on the wall by means of epidiascope and employing, in the absence of a clear drawing of the painting as well as varying thickness of the plaster, characteristic traces on bricks, hollows and bulges, scratches and refits, the negatives of which were impressed in plaster; all ruined part of the painting was put anew on the same place, gluing pieces of plaster with a solution of vinyl polyacetate and fine sand. The whole of the paining was cleaned, while powdered paint was fixed with 2—3°/i water solution of vinyl polyacetate and polyvinyl alcohol with sodium-5-chlorophenolan. Part of the painting sticking to the base, in which plaster got detached, was fixed with a water solution of vinyl polyacetate. Missing plasters were made up with lime- and sand mortar, and horizontally hatched with dry dyes and polyvinyl alcohol.

4

KONSERWACJA XVII-WIECZNYCH MALOWIDEŁ W CELACH NOWICJACKICH KLASZTORU OJCÓW BERNARDYNÓW W LEŻAJSKU

75%

Obruśnik A. E.

Ochrona Zabytków

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2009

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issue 1

12-37

EN

One of the essential recent phenomena in the conservation of historical monuments in Poland was the discovery of seventeenth-century murals in the novitiate cells of the Bernardine monastery in Leżajsk. The murals embellish seven interiors with a cross vault, placed along a second- -storey corridor of the western wing of the building. For centuries they had been concealed under later layers lime, sand-lime finish, paint and plaster. The characterstic feature of the murals is great stylistic diversity. The themes of the figural depictions are religious or allegoric, accompanied by plant-geometrical inscriptions. The south wall of cell no. 1 is decorated with traces of a landscape sequence including a figure of a monk, while the west wall – with a drawing of a monk and on the window embrasure – a monogram of the Holy Family. The north wall features the Madonna and Child surrounded by angels, a town panorama and, in many places, fragments of geometric ornaments. The east wall of cell no. 2 displays horizontally arranged lines, a figure of St. Margaret and within the door embrasures – the Golgotha with a figure of Satan and an emblem of death. The south wall contains a figural and genre scene as well as a wreath with the monogram ”IHS”. The west wall features a symbol of the Name of Mary and an outline of a clock. The north wall is decorated with a text of a prayer, fragments of a wreath, a genre scene and a figure of a man. Cell no. 3 displays a predominance of geometrical ornaments. The west wall shows the contour of a Latin cross and a figure of Franciscan, the west wall – a figure of a (statuesque) woman, and the south and north walls – inscriptions and individual figural accents as well as monograms of the names of Jesus and Mary. The east wall of cell no. 4 is adorned with a painted portal, a cornice and a motif of flowers in vases. The upper part of the south wall preserved fragments of inscriptions and a radial gloria with the monogram “IHIS”. The motifs on the west wall include the Golgotha, a clock face and three rosettes. The upper part of the north wall contains a Marian emblem surrounded with a nimbus and flanked by bouquets of flowers in vases, while the lower part is composed of a scene with a monk portraying in front of a cross. In cell no. 5 angels had been painted above the door, with an allegory of death to the left of the door, a figure of monk and an owl within the door embrasures, and the Crucifixion encircled by relics of lesser scenes. The west wall preserved a depiction of the five wounds of Christ while the north wall features fragments of angels and the emblem ”IHS”. Each wall has an inscription along the ceiling arch. The east wall in cell no. 6 is covered with figural, plant-ornament motifs, inscriptions and monograms of Christ and the Mother of God. The left door embrasure is embellished with a figure of a Franciscan, while the south wall has a Marian monogram encircled with a decorative rosette, a wreath, a Latin inscription and lesser monograms. Similar elements are to be found on the west wall. The upper part of the north wall shows two monograms of Christ, a Marian monogram and a monogram of St. Joseph, while the lower one – two wall hangings, a rosette and lesser monograms and genre scenes. In cell no. 7 murals are extant on the east wall. Legible elements include the inscription ”MEMENTO MORI”, fragments of plant-geometrical ornaments and architectural motifs. The murals were executed in the al secco technique. Due to extensive gaps produced by repairs, redesigning and mechanical damage, their state of preservation is highly unsatisfactory. The examination revealed 23 technological strata and 14 chronological ones. The first stage of conservation consisted of disclosing the murals, their fixation, the removal of putties and the reinforcement of the structure of the base as well as supplementing, cleaning and introducing the uniform colour of the original plaster. In the case of certain gaps conservators applied retouching. Niches in the north walls and window embrasures were restored in all cells. The mural in cell no. 1 on the left door embrasure was lifted off the wall by means of the stacco method due to threats connected with repairconstruction undertakings. A fragment with a mural on the east wall to the left of the door in cell no. 3 was removed in a similar way and placed on the west wall. After the conservation, the group stratigraphy of the murals revealed eight technological layers. The titular murals deserve further thorough studies.

5

Katedra Konserwacji Malowideł Sztalugowych i Rzeźby Drewnianej Polichromowanej

63%

Medwecka Z.

Ochrona Zabytków

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1990

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issue 4

195-204

EN

The Institute of Conservation of Easel Paintings and Polychrome Wood Sculpture was established in 1950, following the merging of the College of Art and the Academy of Fine Arts in Cracow, training students in the conservation of painting or sculpture. It consists of 5 laboratories headed by Prof. Zofia Medwecka, docent (assistant professor) Małgorzata Schuster-Gawłowska, docent Marian Paciorek. Considering that the existing museum and state conservation laboratories are of a servicing nature, the Institute largery functions as an experimental unit. The staff has numbered from 2 persons at the beginning of its existence to 9 persons today. The Institute deals with paintings, frames and sculpture. These are supplied by the regional conservation services, museums, or private owners. Research work is undertaken by the staff and some problems become a part of the tasks of studies or theses. The latter, with the exception of a few, deal with specific historical objects and usually consist of three parts: research, execution and theoretical, in the field of art history the thesis dwells on. The documentation system is the same for all laboratories. The documentation is in their archives and documentation of the theses is in the Department Archives. The lines of activity of the Institute have emerged already at the beginning of its existence. They are: 1) the development of the conservation workshop, 2) problems of technical conservation, 3) aesthetic problems in conservation, 4) identification of works of art. As the Institute developed, its apparatus and equipment resources grew. In 1966 the first heated vacuum table in Poland was built and in 1 983 a low-pressure addition. From 1952 there was an applied chemistry laboratory at the Institute and from 1961 an applied physics laboratory, in time forming the Applied Physics shortages of laboratories at the Institute are compensated by the possibilities of cooperation with the laboratories of other schools of higher education, industry and even hospitals. This makes it possible to undertake problems with the use of otherwise inaccessible apparatus. Problems of technical conservation concern wood, its impregnation, methods of introduction and checking penetration depth, the construction strengthening of the underside of paintings, the use of materials other then wood in the reconstruction of sculptures, designs of carrying racks; movable reconstruction not bound permanently with the painting; canvas; its construction strengthening, duplication on fabrics and on stiff plates of paintings painted on two sides; paintings: replacement of wooden underside with stiff metapleks plates; in 1976, for the first time in Poland (and for the second time ip the world), two layers of paint were separated, the top surface layer being transferred to a new underside, this subject is being developed further; reconstruction on movable inserts not permanently connected with the painting; The fact that the Institute is a part of an art school means that in didactic work, the greatest emphasis is placed on aestheitc problems that determine the authenticity and impact of a work of art. These have been resolved and discussed at the Institute for 40 years, represented by examples. These examples can be surveyed as regards their changes of artistic assumptions in conservation. This is material used for studies of the topic. Since only a conservator is able to have direct contact with the matter of a work of art during his work, investigations are directed towards new methods that make it possible to identify a work af art on the basis of analysis of the creative process. Apart from routine chemical and physical examinations, a new method has been developed: direct comparison of the composition of paintings, the use of anthropology to recognize individuals in portaits. Moreover, a catalogue has been made of the sings on the reverse sides of boards in Dutch and Flemish paintings of the Polish collections. Thanks to the work of the students and staff of the Institute, in 40 years 660 paintings and 155 sculptures have been saved. Another effect is restoring to culture valuable works partly or entirely unknown to science and at times of high artistic, historic or cultural rank.

6

Przyczynki do historii ściennych malowideł bizantyjsko-ruskich w Polsce : technika i konserwacja

63%

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.

7

Dekoracja malarska na sklepieniu kolegiaty pułtuskiej : odkrycie, konserwacja, rozwiązanie artystyczno-estetyczne

51%

Stawicki S.

Ochrona Zabytków

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2002

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issue 3-4

326-338

EN

The painted decoration embellishing the vault of the collegiate church in Pułtusk is one of the largest in Poland and totals about 700 sq. metres without the frieze (composed of architectural niches), which constitutes the lower part of the vault supported directly by northern and southern abutments. The polychrome was executed after 1551, the year of signing a contract with Master Wojciech of Warsaw. The vault polychrome assumed the form of stylised rosettes, fleurons and portrait-heads, inserted into the architectural-decorative configuration of the vault, which constitutes a net made of the alternate onion-shaped and circular forms, creating the so-called Pułtusk vault. After a fire in 1613, the interior of the church, including the vault, was painted over in a uniform colour, probably imitating the firmament. During the almost 300 years-long history of the church, the vault was frequently painted over in a single hue for aesthetic and hygienic reasons. The same purpose, which was to be realised in 1994, led to the discovery of the polychrome, first mentioned already in the seventeenth century. Routine research preceding the intended painting of the church interior confirmed the existence of polychrome decorations on the vault and, as could be assumed from initial work, also on the frieze. The discovery and ensuing conservation were accompanied by considerable interest on the part of the mass media, especially the press. Numerous widely read journals and popular scientific periodicals quoted characteristic comments and accounts from assorted communiques and newspaper notes. The value of those statements and their editorial form leave much to be desired, although they reflect concern for the historical monument and a readiness to stimulate interest in the fate of national culture. The disclosure and conservation of the painted decoration in Pułtusk constituted a serious effort of conservators of art. Suffice to emphasise that almost 3 cubic metres of six to nine assorted worthless layers of paint and lime whitening were removed in the course of uncovering the original polychrome. The conception and realisation of the best possible artistic-aesthetic solution posed a separate problem associated with work after routine technical operations. The state of the preservation of the polychrome and the character of the interior of the collegiate church, as well as its historical value and tourist assets imposed a solution (retouching and the reconstruction of the missing parts of the polychrome) which rendered the painted decoration legible, at the same time preserving its authentic ideological, stylistic and artistic character.

8

Wpływ stylu epoki i względy estetyczne w konserwacji malowideł

45%

Althöfer H.

Ochrona Zabytków

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1965

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issue 2

23-34

FR

A côté des problèmes d’ordre technique e t biologique, il semble nécessaire pour la restauration des peintures de préciser les données théorétiques à base desquelles uniquement peuvent être fixés le genre de tra item e n t et le moyen de procéder à la conservation. Le problème de la restauration des peintures ne peut être résolu autrement qu’à la condition d ’une perception lucide des données sus-mentionnées. Il en résulte la conscience du fait que le conservateur travaille sur une o e u v r e d’a r t. Le procédé technique du métier ne consiste donc pas à manier une matière quelconque, mais à s’occuper d’une matière toute spéciale. Le re stau ra teu r ne peut donc trav a ille r sans faire en courir, à la structure, à l’authenticité esthétique et historique de l’oeuvre, le risque d ’une modification trop poussée. Ce danger existe dans chaque e n tre prise de restauration. Autant le nettoyage que le nouveau verni peuvent changer le b rillan t de la surface, l ’impression de la profondeur, la couleur de fond caractéristique pour l’oeuvre dont il s’agit. Le rentoilage d ’une peinture risque d’entra iner un changement de la couche originale. En plus de ces traitements effectués à la surface ou au revers de la peinture, d ’autre s trav au x de conservation, même s’il ne sont appliqués qu’à un fragment de l’oeuvre, peuvent changer son aspect de to u t en tout. Chaque époque apporte de nouvelles solutions des problèmes de la restauration en connexion avec les idées e t les voies artistiques qui lui sont propres. On p o u rra it donc parler des styles de re s ta u ration. Leurs tra its caractéristiques se manifestent le plus clairement dans la façon vont on suppléa aux déficiences des peintures au cours des siècles passés, où la peinture ancienne est tra ité e sans aucun égard, et repeinte suivant le sens artistique des temps nouveaux. Mais ce n ’est pas seulement de cette façon que l’époque de la restauration apporte des changements à l’original de l’oeuvre restaurée. Les modifications rigoureuses que le baroque apporte aux dimensions expriment aussi bien le goût de cette époque que la retenue dans les complêtements si tipique pour la conscience archéologique et scientifique du classicisme. Il faut comprendre de la même façon les „embélissements” des peintures ita liennes de la Renaissance, effectués par les re s ta u ra teurs — Nazaréens et les tendances de l'anti-maniérisme dans les oeuvres repeintes au cours de la seconde moitié du XIXe siècle. Et c’est ainsi que la manie intransigeante de transposer s’allie dès la fin du XVIIIe siècle et surtout au XIX-ème, à l’insensibilité d ’une époque peignant d’une manière „lisse” pour les valeurs de la tex tu re picturale. Dans la même mesure e t pour une grande p art chez nos restaurateurs, leurs affinités avec les n o tions impressionistes sur les couleurs et leur incapacité d ’apprécier les valeurs, donne suite à une tendance d’enlever le verni et à un nettoyage des peintures trop poussé. Une grande p a rt des traitements appliqués depend sans aucun doute de l’é ta t dans lequel se trouve la peinture avant la restauration, de sa valeur pour l’histoire de l’a rt, ou encore de sa valeur en ta n t qu’objet d’un culte. Parfois ce sont les conditions du climat local qui decident de telle ou au tre méthode à employer. Il est toutefois incontestable que la solution théorétique ou le point de vue historique joue le rôle prépondérant dans tous les trav au x de restauration. Les opinions locales sur la valeur de l’oeuvre doivent être également prises en consideration. Sur l’exemple des peintures retouchées on voit manifestement avec quelle force les ébats théoretiques s’imposent aux traitements de restauration et combien le goût et le style de l’époque au cours de laquelle ils sont effectués décident du genre des traitements appliqués.

DE

Neben d e r E rörterung von technischen und n aturwissenschaftlichen Problemen in der Restaurieru n g erscheint die Klärung der theoretischen S ituation wesentlich, aus der die Art und das Maß jeder Restaurierung allein bestimmt werden können. Die gestellte Aufgabe kann n u r dann gut gelöst werden, wenn K larheit über diese Fragen besteht. Dazu gehört zunächst einmal die Erkenntnis, daß der Restaurator ein Kunstwerk behandelt. Die handwerklich- technische Tätigkeit ist also nicht die Beschäftigung mit irgendeiner Materie, sondern mit einer sehr speziellen. Der Restaurator kann diese Materie nicht behandeln, ohne nicht gleichzeitig die Gesamts tru k tu r des Bildes, seine Erscheinung als ä sth etische Realität und historische Urkunde zumindest der Gefahr einer allgemeinen Veränderung auszu besteht bei jeder re s ta u ra to ri eine Reinigung wie ein neuer erflächenglanz, Tiefenräumlichkeit r des Bildes verändern, eine Ubern neuen Bildträger kann die Oberverwandeln usw. Zwischen diesen der obersten Oberfläche des Bildes 'ckseite gibt es zahlreiche weitere Eineichermaßen, auch wenn sie nur einzelen betreffen, das ganze Gemälde veränn. Jede Zeit löst die aufgetragenen re stau - Aufgaben im Sinne der eigenen Kunst stanschauung. Man kann von R e stau rie rrechen. Am offensichtlichsten wird das bei lerischen Ergänzungen frü h e re r J a h rh u n d e rohne weiteres das alte Bild im Sinne der en Zeit in te rp re tie rt wird. Aber nicht n u r durch Arbeit m it dem Pinsel d eu tet die restau rieren d e che das Original um. Die rigorosen F o rm a tv e rderungen des Barock sind gleichermaßen eine ussage des uniformierenden Zeitgeschmacks, wie die urückhaltung in der Ergänzungsfrage bezeichnend ist für das archäologisch-wissenschaftliche Bewußtsein des Klassizismus. So sind auch „die Schönungen” italienischer Renaissancebilder durch NazarenerRestaura toren zu verstehen und die antimanieristischen Tendenzen in den Übermalungen d e r 2. Hälfte des 19. Jahrhunde rts, und so verbindet sich die rücksichtslose Ubertragungsmanie seit dem Ende des 18. Jah rh u n d e rts und besonders seit dem 19. J a h r h undert mit der Empfindungslosigkeit einer „glatt” malenden Epoche gegenüber Werten der Oberflächenstruktur. Gleichermaßen ist für einen großen Bereich unserer Restaurierung heute, für die Tendenz der Firnisabnahme bzw. der Reinigung, die Nähe zu impressionistischen Farbvorstellungen maßgebend und Unvermögen, Valeurs zu erkennen. Gewiß sind die meisten Eingriffe abhängig vom Zustand des Bildes, seinem Wert fü r die Kunstgeschichte oder innerhalb des Kunsthandels und seiner Bedeutung fü r den Kult, oder die k limatischen Verhältnisse des Ortes bedingen diese oder jene Methode. Aber es steht außer Frage, daß theoretischen Erwägungen und historische Standpunkt die bedeutsamste Rolle bei jeder Restaurierung spielen. Diese Einstellungen richten sich nach den Anschauungen, die man vom Kunstwerk am jeweiligen Ort hat. ‘ Am Beispiel der Gemälderetusche wird verdeutlicht, wie stark theoretische Erwägungen re s ta u ra torische Maßnahmen beeinflussen und wie Geschmack und Stil der restaurierenden Zeit den Eingriff bestimmen.

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Zakres diagnostyki w konserwacji malarstwa ściennego

Konserwacja malowideł ściennych w zamku w Lidzbarku Warmińskim w latach 1955-1985

Konserwacja malowidła "Chrystus w Tłoczni Mistycznej" w zakrystii kościoła NMPanny w Stargardzie Szczecińskim

KONSERWACJA XVII-WIECZNYCH MALOWIDEŁ W CELACH NOWICJACKICH KLASZTORU OJCÓW BERNARDYNÓW W LEŻAJSKU

Katedra Konserwacji Malowideł Sztalugowych i Rzeźby Drewnianej Polichromowanej

Przyczynki do historii ściennych malowideł bizantyjsko-ruskich w Polsce : technika i konserwacja

Dekoracja malarska na sklepieniu kolegiaty pułtuskiej : odkrycie, konserwacja, rozwiązanie artystyczno-estetyczne

Wpływ stylu epoki i względy estetyczne w konserwacji malowideł