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1

Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs

100%

Gostkowska K.

Romanica Wratislaviensia

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2016

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vol. 63

41-52

EN

Colour as a subject has led to numerous studies in various disciplines (such as physics, psychology, chemistry or history of art, to name a few). In the field of linguistics, the names of colours have been analysed from different points of view but all those works concerned mostly the words related to colours used in the general language. The aim of the present paper is to focus on the terms related to colours used in history of art texts, and to show the unexpected complexity of such terminology. After presenting the definitions of colour we will describe two different aspects of French terminology related to colour: firstly, the forms of terms from the point of view of their morphological and semantic motivation, and secondly, the cultural and historical reasons of such linguistic abundance and complexity of the colours’ terminology.

2

Pigments on Rural Buildings from South-East Moravia on the Example of the Finding Situation from the Village of Hrušky

88%

Novotný M., Všianský D., Frýbort A.

Národopisná revue (Journal of Ethnology)

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2022

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vol. 32

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issue 4

319 - 327

EN

The research on pigments used on rural buildings is part of the research on the diversity of colours in vernacular architecture. This is a topic to which the Czech ethnology has not paid much attention yet. The industrial production of pigments, which began to spread especially in the second half of the nineteenth century, offered a broader variety of colours and their easier availability even in the countryside. The case study is primarily based on a material analysis of the finding situation in the village of Hrušky in south-east Moravia (Czech Republic), in the Slovácko region. The research focused on powder paints found in the depository of the Open-Air Museum of Rural Architecture in South-East Moravia in Strážnice in 2020. Unfortunately, the set did not include any building numbers that could help to reconstruct the form of colour development on a particular building. Almost all of the paints, some of which have survived in their original packaging, came from post-war Czechoslovakia. The material included sixteen samples of pig-ments and powder paints. In addition to the description of a particular set of samples, the treatise demonstrates the potential of scientific methods applied to analyse and paints, which are common in materials science and used in restoration works and for ethnological studies.

3

Wpływ grzybów pleśniowych na pigmenty stosowane w dekoracjach ścian i stropów na przykładzie drewnianego kościoła pw. św. Stanisława Biskupa w Boguszycach

63%

Andres B., Wojciechowska J.

Ochrona Zabytków

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2017

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issue 1

223-238

PL

Przedmiotem badań opisanych w artykule było określenie zmian barwy w warstwie malarskiej, wywołanych działaniem grzybów pleśniowych. Próbki do badań wykonano w technice tempery kazeinowej, wykorzystując następujące pigmenty: azuryt, biel ołowiową, cynober, czerń z winorośli, czerwień żelazową, malachit, minię, sadzę oraz smaltę. Zmiany barwy rejestrowane były poprzez pomiar wartości L*, a*, b*, w systemie barw CIELAB. Największą stabilność barwy wykazała sadza, natomiast największej zmianie uległa biel ołowiowa. Do najbardziej odpornych na wzrost grzybów pleśniowych należą minia i biel ołowiowa. Najniższą odporność na wzrost grzybni wykazała czerń z winorośli. Stopień porośnięcia warstwy malarskiej przez grzyby pleśniowe nie korespondował ze zmianami barwy wywołanymi ich działaniem.

EN

The purpose of the research described in the article has been to determine the scope of discoloration of paint layers caused by mould fungi. The research samples were prepared using the casein tempera technique, with the following pigments being applied: azurite, white lead, cinnabar, vine black, red iron oxide, malachite, minium, lamp black and smalt. The changes in colour were recorded through the measurement of the L*, a* and b* coordinate values using the CIELAB system. Among the pigments used, lamp black displayed the greatest stability of colour, while white lead proved the most susceptible to changes. Minium and white lead proved to be the most resistant to the growth of mould fungi. Vine black, on the other hand, exhibited the lowest degree of resistance to fungal infestation. The degree of infestation of paint layer by mould fungi did not correspond to the extent of discoloration caused by such fungi.

4

Identyfikacja pigmentów polichromii we wnętrzach kamienicy nr 43 na Starym Rynku w Poznaniu

51%

Filipiak M.

Ochrona Zabytków

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2015

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issue 2

171-183

EN

The article presents results of research of wall paintings located in a fifteenth-century tenement house in the Old Market Square, in Poznań. Almost 60 small fragments of polychromes were analised using methods of: optical microscopy, spectral analysis and observation in micro-area (SEM-EDS), infrared imaging technique (FTIR-ATR) and Raman microspectroscopy. Following pigments were identified: lead minium, red ocher, massicot, yellow ocher, malachite, azurite, chalk, charcoal (beech), vine black and lamp black.

5

Pigmenty a barevnost tradičních venkovských staveb na jižní Moravě

51%

Novotný M., Slavíček K., Štulířová J., Všianský D.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2021

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vol. 108

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issue 3

371-394

EN

The article describes an interdisciplinary study that uses the means of ethnology and materials science. This approach is quite unusual in the Czech environment. Specifically, it concerns detailed materials analyses of samples of plaster which were acquired during ethnological research on selected recent buildings in South Moravia. The studied plaster samples from folk buildings in the Znojmo area are probably from the twentieth century. Howeber, it cannot be ruled out that the buildings are older. In addition to traditional and mostly inorganic pigments, the plaster samples were also coloured using synthetic pigments, which corresponded to their availability on the market. Besides the description of the set of samples, the article also demonstrates the potential of applying natural-scientific methods to analyse plaster and its pigments for ethnology. At present, these methods are common in materials engineering and are used in restoration work.

6

Madonna del Velo z przedstawieniem kardynała Paola Emilia Sfondratiego ze zbiorów wilanowskich w świetle ostatnich prac badawczych i konserwatorskich

38%

Gutowska-Dudek K., Modzelewska E., Strombek J., Kozakiewicz P.

Studia Wilanowskie

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2019

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vol. XXVI

119-152

EN

A valuable work associated with the output of Raphael is extant in the collection of the Museum of King Jan III's Palace at Wilanów. It constitutes a repetition of The Holy Family, a work by the Urbino master which used to be located in the church of Santa Maria del Popolo in Rome and which has been considered lost. The painting, also known as the Madonna del Velo, is now believed to be one and the same as The Holy Family or, as an alternative name, La Madone de Lorette, currently in Musée Condé in Chantilly. The history of Raphael's original is complex and often mysterious. Over a hundred of its copies and variants are known. Enchanted with the beauty of this work, Cardinal Paolo Emilio Sfondrati (1560-1618), a presbyter of the church of Santa Cecilia in Trastevere, purchased it in 1591 and allegedly commissioned two copies of it for his brothers. The author added the figure of an angel and a portrait of the cardinal to Raphael's original composition. The links known to have existed between Cardinal Sfondrati and the outstanding Baroque painter Guido Reni (1575-1642), as well as extant drawings and prints, have promoted the conjecture that he might be the author of this exceptional work. However, an exhaustive study of Guido Reni's output and a careful investigation of archive materials in Poland and in Italy are required to determine its authorship. The painting arrived in Wilanów around the middle of the 19th century, when the palace was owned by Count and Countess August Potocki. Four articles pertain to one of the most interesting, and most valuable, paintings in the Wilanów collection, the Madonna del Velo, discussing various issues linked with its history, its study and its conservation. The Wilanów version is particularly interesting because of its high artistic quality and the fact that it shares some stylistic features with works by Raphael considered to be its prototypes. The technological structure of the Wilanów painting and the materials used in its making were investigated in the course of a research project and with the involvement of many scholars representing various areas of expertise. Analyses were conducted which made it possible to describe the board used as the painting surface, the pigments and the binding agents of the painting's layers, which is of considerable importance in further research on the workshop that produced the work. An account of the recent conservation interventions involving this painting is appended to the material.

7

La peinture est aussi un artisanat. Sur les degrés de spécialisation dans les textes traitant de la problématique de la couleur dans la peinture

38%

Gostkowska K.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 8: Lingwistyka korpusowa i translatoryka

105-117

EN

The colour in art is a complicated issue that concerns not only art historians, but also chemists, who prepare new pigments, and painters themselves. The body of texts related to colours in art is thus extremely diversified. The aim of this article is to verify how terms relating to “perceived” colours and the “material” colours (the pigments) can function in specialised texts. Adopting the point of view represented by the theory underlying the existence of different variations in terminology (so-called théorie variationniste de la terminologie) we study the morphology and the syntax of colour terms. Our main goal is to verify the hypothesis stating that not only the choice of terms, but also their insertion in a right context depends on the degree of specialisation of the given text. The article is an attempt to characterize the different types of texts in their terminological layer.

PL

Kolor w sztuce stanowi bardzo złożone zagadnienie, którym zajmują się nie tylko historycy sztuki, ale również chemicy opracowujący nowe pigmenty czy wreszcie sami malarze. Zbiór tekstów traktujących o kolorach w sztuce jest więc niezwykle różnorodny. Celem niniejszego artykułu jest sprawdzenie, w jaki sposób w zebranych tekstach mogą funkcjonować terminy odnoszące się do kolorów „postrzeganych” i do kolorów „materialnych” (czyli do pigmentów). Wychodząc z punktu widzenia teorii kładącej nacisk na istnienie wariantów w terminologii (tzw. théorie variationniste de la terminologie), przyjrzymy się zarówno cechom morfologicznym tych terminów, jak i ich funkcjonowaniu składniowemu w badanych tekstach. Nadrzędnym celem jest weryfikacja hipotezy, zgodnie z którą nie tylko wybór terminów, ale również ich osadzenie w odpowiednim kontekście są uzależnione od stopnia specjalizacji danego tekstu. Artykuł ten jest zarazem próbą zarysowania charakterystyki poszczególnych typów tekstów w ich warstwie terminologicznej.

FR

La problématique de la couleur dans l’art constitue un sujet très vaste qui occupe non seulement les historiens de l’art, mais aussi, notamment, les chimistes qui fournissent de nouveaux pigments ou les peintres. Les textes qui traitent de la thématique des couleurs dans l’art sont donc extrêmement variés. Notre but est de vérifier comment, dans les textes spécialisés, peuvent fonctionner les termes relatifs aux couleurs « perçues » et aux couleurs « matières » (c’est-à-dire aux pigments). Partant du point de vue de la théorie variationniste de la terminologie, nous dégageons les traits morphologiques de ces termes et nous étudions leur fonctionnement syntaxique dans les textes. Notre but principal est de voir si le degré de spécialisation d’un texte peut déterminer non seulement le choix des termes utilisés mais aussi leur apparition dans un contexte prédéfini. Cet article se pose également comme objectif de relever les caractéristiques de ces différents textes du point de vue terminologique.

8

Transformacja XVIII-wiecznej metody transferu obrazu graficznego na ceramikę w nowoczesne technologie w warunkach warsztatu graficznego. Metody transferu grafiki na ceramikę

32%

Cieślińska-Kawecka A., Kerner K. F.

inAW Journal – Multidisciplinary Academic magazine

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2020

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vol. 1

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issue 1

EN

The article deals with the implementation of an 18th-century method of transferring graphic images onto ceramic substrates based on a contemporary graphic art workshop. Popularised in the 18th and 19th centuries in England, the technique called transferware used engraving matrices, and the decoration was transferred onto ceramics using tissue paper and subsequently fired in a two-stage process. An important element in the implementation of the new method of transferring graphics onto ceramics is the development of recipes for contemporary low-toxic or non-toxic ceramic paints in the basic colour range - vitreous and underglaze ceramic pigments. The pigments created and tested, due to the range of physical parameters studied, can be spectroscopically studied objects. The process of implementation of the transfer also describes the study of the image carriers, from intaglio to relief printing matrices, the development of recipes for the composition of graphic-ceramic paints, firing methods, methods of image application, and the papers used. Preliminary experience shows that not only the transfer of graphics - an image from a graphic matrix onto ceramics is possible, but also it produces interesting artistic effects without the use of toxic solvents. Recreating old methods of transferring graphics onto ceramics in combination with new technologies is an innovative idea. The method of transferring the matrix onto ceramics creates an innovative workshop and allows an interdisciplinary studio to operate within the structure of artistic printmaking. The aim of implementing the new method of technology is to use it for artistic solutions.

PL

Artykuł dotyczy wdrożenia XVIII- wiecznej metody transferu grafiki na podłoża ceramiczne w oparciu o współczesny warsztat graficzny. Technika nazywana transferware, spopularyzowana w XVIII i XIX wieku w Anglii, wykorzystywała matryce rytownicze, a dekoracja była przenoszona na ceramikę za pomocą bibuły i wypalana w dwustopniowym procesie. Ważnym elementem wdrażania nowej metody transferu grafiki na ceramikę jest opracowanie receptur współczesnych małotoksycznych lub nietoksycznych farb ceramicznych w podstawowej gamie kolorystycznej – pigmenty ceramiczne naszkliwne oraz podszkliwne. Tworzone i testowane barwniki, ze względu na zakres parametrów fizycznych badanego zjawiska, mogą być obiektami badanymi spektroskopowo. Proces wdrażania transferu opisuje także badanie nośników obrazu, począwszy od matryc wklęsłodrukowych po wypukłodrukowe, opracowanie receptur składu farb graficzno-ceramicznych, metod wypału, sposobów nanoszenia obrazu, użytych papierów. Wstępne doświadczenia pokazują, że transfer grafiki – obrazu z matrycy graficznej na ceramikę jest nie tylko możliwy, ale daje ciekawe efekty artystyczne bez stosowania toksycznych rozpuszczalników. Odtworzenie starych metod transferu grafiki na ceramikę w połączeniu z nowymi technologiami jest nowatorskim założeniem. Metoda transferu matrycy na ceramikę tworzy innowacyjny warsztat oraz pozwala na działanie interdyscyplinarnej pracowni w strukturze grafiki artystycznej. Celem wdrożenia nowej metody techniki jest wykorzystanie jej do rozwiązań artystycznych.

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2 Ochrona Zabytków

1 Národopisná revue (Journal of Ethnology)

1 Roczniki Humanistyczne

1 Romanica Wratislaviensia

1 Studia Wilanowskie

1 inAW Journal – Multidisciplinary Academic magazine

1 Český lid: etnologický časopis (Český lid: Ethnological journal)

2 Gostkowska K.

2 Novotný M.

2 Všianský D.

1 Andres B.

1 Cieślińska-Kawecka A.

1 Filipiak M.

1 Frýbort A.

1 Gutowska-Dudek K.

1 Kerner K. F.

1 Kozakiewicz P.

1 Modzelewska E.

1 Slavíček K.

1 Strombek J.

1 Wojciechowska J.

1 Štulířová J.

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