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1

Nowa aparatura do konserwacji obrazów na drewnie i nowy rodzaj parkietu

100%

Kozłowski R.

Ochrona Zabytków

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1960

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issue 1-4

66-78

2

Konserwacja obrazów Michaela Willmanna na przykładzie "Męczeństwa św. Piotra" oraz "Męczeństwa św. Pawła" : problematyka i zakres prac

75%

Potocka A. D.

Ochrona Zabytków

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2000

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issue 1

48-63

EN

The conservation and restoration of the paintings and frames of The Martyrdom o f St. Peter and The Martyrdom o f St. Paul by Michael Willmann took place in 1998-1999. The paintings in question were commissioned by Arnold Freiberger, the Cistercian abbot of the monastic church in Lubiąż, and were one of the first from a great cycle of several score canvases executed by this artist. Conservation was conducted in situ , in the gallery of the church of St. Stanisław Kostka in Warsaw, where the paintings are kept since 1952. The fact th a t they are displayed in the church apse, where they frame the main altar, together with the large size (285 x 295 cm.) of the paintings meant that the fundamental goal of conservation was the restoration of the original aesthetic and religious merits. The successive task, connected with the considerable weight of the canvases and frames (more than 250 kg. each), consisted of reinforcing the mechanical resilience of the old duplication, which it was decided to keep. The ensuing work involved repair, total cleaning, and the supplementation of missing fragments of the paint layer. Taking into consideration the fact that at least three previous conservations had been carried out in the nineteenth and twentieth century, it was necessary to perform all the operations exceedingly carefully and after scrupulous studies and tests, to avoid damaging the objects or weakening their already undermined mechanical resistance. The removal of varnish and dirt from the surface of the paint layer was conducted gradually, and the entire process was controlled in UV light, in order n o t to excessively clean the extremely dry and, in places, baked paint. Retouches of the paint layer were limited to inevitable spots, so as n o t to lose the rubbings, incomplete painting and translucence, characteristic for the author. It was decided to conserve and restore the frames, with the exception of a reconstruction of missing elements of the carving.

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PARA NIEZNANYCH LITERATURZE PORTRETÓW Z KRĘGU SZLACHECKIEGO KOŃCA XVIII W. PĘDZLA JÓZEFA FAWORSKIEGO. KONSERWACJA I PIERWSZE BADANIA TECHNIKI MALOWANIA

51%

Szpor J., Soińska Z.

Ochrona Zabytków

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2008

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issue 2

17-32

EN

The collection of nine portraits of the Wardeski family of the Godziemba coat of arms, salvaged from a manor house in Dalikowo in the land of Sieradz, presents a series of ancestors from the end of the eighteenth century to the early twentieth century. The conservation of the collection was conducted in 2003-2008 in the atelier of Professor Joanna Szpor at the Academy of Fine Arts in Warsaw as part of a course for students. In view of the original inscriptions on the reverse of the canvases it was necessary to apply the transparent doubling method; the genealogy of the family was illustrated with the portraits. The earliest pair of portraits of Teresa Garbowska born Krosnowska and her husband, Jozef Garbowski (1789), is still part of the current of eighteenth-century gentry painting. The reverse of both likenesses features the signature 'Jozef Faworski', who was one of the leading painters of this current. The heretofore-unknown portraits increase the number of canvases signed by him to a total of seven. Due to the visible composition changes in the portrait of Garbowska, the painting became the topic of an M. A. dissertation written by Zuzanna Soinska. Physical-chemical studies and a comparative analysis of the technique applied in the other portraits by Jozef Faworski made it possible to recreate and, for the first time, to describe his workshop. The conventions of the depiction of the Polish nobility were established, and the fashion observed by the wives - predictable. Faworski received commissions for portraits of married couples in assorted manor houses and then prepared canvases of similar sizes; the colour of the priming ground depended on the planned tones, and the artist had at his disposal a painted version of the so-called female portrait. As a rule, he executed the most frequently requested composition, i.e. from the hips up, with a hand holding a fan on a table, and all the attributes and ornaments of the fashionable gentlewoman, which, as in the case of Teresa Garbowska, the sitter could reduce or change in the last stage of completing the painting, when she was already posing for a rendition of the facial features. In the case of the discussed portrait the alteration was so considerable that only comparative studies of the binder from the 'unquestionably auteur' parts and the 'secondary fragments' revealed that they had been executed by Faworski in fat tempera with an addition of gum. The binder was 'combined' tempera composed of egg yolk, flax oil and cherry gum for a better cohesion of the paint. An analysis of the inscriptions on the reverse of the earlier studied portraits signed by Faworski and the newly discovered portraits of Teresa and Jozef Garbowski indicates that they were executed by the same author using a paintbrush - which called for considerable ease in guiding it and for recurring lettering. The presented research findings became the first description of the workshop of Jozef Faworski, an author of portraits from the range of gentry painting. They also provided directives for the conservation of the portrait of Teresa Garbowska.

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3 Ochrona Zabytków

1 Kozłowski R.

1 Potocka A. D.

1 Soińska Z.

1 Szpor J.

1 2008

1 2000

1 1960

Nowa aparatura do konserwacji obrazów na drewnie i nowy rodzaj parkietu

Konserwacja obrazów Michaela Willmanna na przykładzie "Męczeństwa św. Piotra" oraz "Męczeństwa św. Pawła" : problematyka i zakres prac

PARA NIEZNANYCH LITERATURZE PORTRETÓW Z KRĘGU SZLACHECKIEGO KOŃCA XVIII W. PĘDZLA JÓZEFA FAWORSKIEGO. KONSERWACJA I PIERWSZE BADANIA TECHNIKI MALOWANIA