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Przeniesienie dwóch warstw malarskich z feretronu z Wielgich z próbą osadzenia jednej z nich na nowym podłożu

100%

Lempart-Geratowska M.

Ochrona Zabytków

1992

issue 3

184-191

The article is a report from the conservation of a feretory, painted on two sides; the basic assumption of the undertaking was to uncover the original paintings with the simultaneous retention of the later layers. The transferred paintings were placed on a new base. The conservation was part of a diploma work, and applied the method proposed by J. Kucaba. Upon the base of technological research and the state of the object, the first stage of the work involved the attempted transfer of a fragment of the oil paint layer - „The Scapular Virgin Mary” - from the rewerse of the feretory (nineteenth-twentieth century). The succesive attempt pertained to the separation of the painting on the obverse - „St. Isidore the Ploughman". The applied method made use of the possibility of softening the secondary paint layer without damaging the original tempera layer. The softening process took place inside a chamberused for steaming with two-ethylic formamide. The painting was softened horizontally. Following the softening of the paint layer, a face composed of two layers of tissue paper and polyester foil was employed. The adhesive in this case was Velpon. The paint layer within the range of the oil underside was cut. These operations were repeated upon the occasion of treating each separated part of the painting, both on the reverse and the obverse. The following question concerned the placing of one of the fragments of the transferred paintings onto a new base. Finally, upon the base of numerous attempts, the selected method consists of placing putty, suitably coloured with the help of polyalcohol of vinyl, the adhesion of the relining layer made of tissue paper and the intervention layer, composed of polyurethane foam, cut in the shape of plates; the binder was a diffusion of polyoctane of vinyl in water. It became apparent, however, that this method caused a deformation of the paint surface. It became necessary to remove the wrong coating and to apply one closer to easel painting. The second undertaking consisted of impregnating a fragment of the painting with a wax-resin coating, the adhesion of an intervention layer composed of fabric, and the use of a wax-resin mixture, this time as a binder. All these stages were performed on a vaccuum table, and pertained only to „The Scapular Virgin Mary". This fragment was the placed on a new base, made of pine wood modified by the so-called pine lignomer. The adhesive was in this instance polyoctane of vinyl in a solvent. After a certain time, it was noticed that the base became excessively uneven; this fact led to a decision to change the base. The new base was composed of limewood impregnated with shellac, while the adhesive was once again a wax-resin mixture. In the final stage, losses in the paint layer were replenished and warnish was applied. As a result of the conducted operations sthree independent objects were obtained: a feretory painted on two sides, with an uncovered original polychromy from 1690, and two paintingstransfers: „The Scapular Virgin Mary" and „St. Insidore the Ploughman" (translated by A. Rodzińska - Chojnowska)

Katedra Konserwacji Malowideł Sztalugowych i Rzeźby Drewnianej Polichromowanej

63%

Medwecka Z.

Ochrona Zabytków

1990

issue 4

195-204

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.

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2 Ochrona Zabytków

1 Lempart-Geratowska M.

1 Medwecka Z.

1 1992

1 1990

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Przeniesienie dwóch warstw malarskich z feretronu z Wielgich z próbą osadzenia jednej z nich na nowym podłożu

Katedra Konserwacji Malowideł Sztalugowych i Rzeźby Drewnianej Polichromowanej