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Matka Boska z Dzieciątkiem z kościoła oo. bernardynów w Warcie

100%
Czernichowska J.
Ochrona Zabytków
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1997
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issue 3
212-216
EN
During the conservation and restoration of the seventeenth- century Madonna and Child, a painting in the Bernardine monastic church in Warka (voivodeship of Sieradz), the removal of a silver covering, which to considerable degree concealed the canvas, proved that the painting is a stylistic compilation of seventeenth- and nineteenth-century elements. The examination of the object (X-ray, chemical studies of samples of painting layers, stratigraphy of layers) revealed a complicated stratigraphie construction of the canvas — the existence of numerous repainting, spanning assorted ranges. In the past, the painting was subjected to many repairs, i.a. the form of the wooden under-painting was expanded and altered. The conducted survey of source material did not enable a closer ascertainment of the workshop which produced the painting, or its history. Owing to the state of the preservation of the original object and the cult functions it fulfils, conservation entailed the removal of eighteenth- and nineteenth-century repainting, a partial retention of the seventeenth-century layer, and a fragmentary disclosure of the probably sixteenth-century canvas. The article describes a situation when a conservator is compelled to make unambiguous choices, and his decisions maintain or alter the form of a given work of art. Such decisions, therefore, should entail fully conscious selections.
2
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Nieznane malowidło z 1805 r. pochodzące ze skasowanego klasztoru bernardynów w Barczewie

58%
Maciejko K.
Hereditas Monasteriorium
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2013
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vol. 3
231-239
EN
The collection of the State Archive in Olsztyn holds a highly unusual item: a decorative inscription concerning the monks and donors of the Franciscan Observants monastery in Barczewo. It is a 200 by 100 cm, oil-on-canvas painting, whose textual part is composed of a decorative title, an outline of the monastery’s history, the list of donators, as well as of the deceased fathers and friars covering the period between 1599 and 1817. The fundamental content is organised into five columns. The painting was decorated with a composition of a geometrical ornament, a vine, and a bordure of skull and bones suspended on a ribbon. The dissolution of the order, which took place in 1830, led to the dispersal of the Franciscan legacy. In view of a small number of extant sources from the suppressed monastery, the plaque seems all the more valuable. The inscription, due to a poor state of preservation, has not been made available for research so far, a situation which the restoration works currently in progress will help to change.
3
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Question about a painting artwork and a canvas. Comments to Roman Ingarden’s concept of painting

58%
Mordka A., Mordka A.
Przegląd Filozoficzny. Nowa Seria
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2020
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issue 4
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