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Krosna malarskie jako element datujący obrazy olejne Piotra Michałowskiego

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Pasicka-Szpor J.

Ochrona Zabytków

1983

issue 3-4

269-275

The article is part of a doctor’s thesis on ’’Materials and Techniques in Oil Paintings of Piotr Michałowski”. The work of this outstanding romantic painter came to light relatively late, hence it is difficult to date his unsigned paintings. On the basis of exmined frames, canvases, mordants and paints the author undertakes an attempt to reconstruct the order of the creation of paintings assuming that there are links between places of arist’s residence and materials used in painting. A study of 32 paintings of Piotr Michałowski found in the collection of National Museums in Cracow and Warsaw has shown that only eight original painters’ frames have been preserved. Despite such a small number of frames, they became an importat element in dating artisti’s work, just as their construction depended on places where they were bought or made. Preserved frames represent four different types according to the construction of angles. The construction of frames from big centres such as Cracow or Warsaw was most sophisticated for that period. On the other hand, the construction of frames from paintings done in country estates, made by rural carpenters reminds of combinations used in the 17th and in the first half of the 18th century. The dates of the manufacture of frames established in this way were verified during the examination of sub- paintings, mordants and paints, which proved the correctness of proposed dating. The results obtained in the studies reveal a necessity to pay attention to the recording of all conservation interferences including original frames, often removed inconsiderately.

Rozwój krosien malarskich w XIX i XX wieku i ich wpływ na stan zachowania obrazów

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Kulesza A.

Ochrona Zabytków

1996

issue 4

375-394

Contemporary conservation o f easel paintings executed on canvas attaches increasing importance to the application o f suitable painting frames, both exposition and auxiliary, employed for conservation purposes. Attention is paid to their considerable impact upon the state o f the preservation o f the paintings. Even a brief review o f the development of the frames indicates how much has been accomplished for the elimination o f the negative effects caused by them. The nineteenth and, in particular, the twentieth century witnessed the appearance o f numerous new frame constructions. Some were devised as rather complicated equipment whose task was an automatic adaptation to changes in the paintings caused by micro-climatic conditions. The analysis o f various types o f frames shows that their construction and functioning can prevent the destruction o f the paintings, albeit not totally. This fact is connected with the imperfection o f the base i.e. the canvas, which relatively easily succumbs to micro-climatic oscillations. In the majority o f cases, the presented types o f frames, especially the most modern ones, do not accelerate the process o f aging and damage; nonetheless, they too do not prevent the natural aging o f paintings. A large group o f the new constructions can be used, apart from their exposition function, as auxiliary frames for conservation. Such purely auxiliary frames are the object o f studies. The contemporary constructions of specialist frames, either exposition or auxiliary, are to a growing extent made o f metal.

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2 Ochrona Zabytków

1 Kulesza A.

1 Pasicka-Szpor J.

1 1996

1 1983

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Krosna malarskie jako element datujący obrazy olejne Piotra Michałowskiego

Rozwój krosien malarskich w XIX i XX wieku i ich wpływ na stan zachowania obrazów