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1
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KORONACJA NAJŚWIĘTSZEJ MARII PANNY Z KOŚCIOŁA P.W. ŚW. TRÓJCY W JEŻEWIE. DOMNIEMANY OBRAZ HERMANA HANA W ŚWIETLE BADAŃ HISTORYCZNYCH I TECHNOLOGICZNYCH

100%
Flik J., Olszewska-Świetlik J., Tylicki J.
Ochrona Zabytków
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2003
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issue 3-4
73-85
EN
The first part of the paper presents a historical, stylistic and iconographic analysis of the painting. Identifying several depicted figures, the author dates the composition c. 1630 and establishes its provenance from north-eastern areas of the province of Greater Poland, whereas its creator should have rather been a follower of then fashionable Danzig painter Hermann Han, active in that region. While dependent on Han in construction principles, and resorting to employing motifs from early Flemish Counter- Reformation prints, also used by the latter in his art, the picture displays some originality in iconography. A Han-inspired apotheosis of contemporary Catholic society and the Polish state, reflecting the divine order in its spiritual and secular supporters, it shows an unusual trait in laying direct emphasis on the role of Virgin Mary in Passion and Salvation. Subsequently, the technical construction of the canvas is discussed. To these ends, complex research was undertaken, including physical examination in UV and infrared, as well as chemical and instrumental studies, including priming through the painted layers. Its results, especially the disclosure of the manner in which the layers of paint were placed one upon another, corroborate the thesis that the painting has been executed in a provincial workshop that continued the technical tradition of the sixteenth century. In the 1630’s, the encroaching newer constructional tendencies were still hampered in Northern, especially German milieus by older guild habits. Characteristically for northwestern Poland, the technical buildup of the canvas shows also some distinct Netherlandish influence. From both art historical and technical point of view, the Coronation from Je˝ewo can be therefore described as a typical but, simultaneously, an outstanding example of Counter-Reformation altar painting in the Polish Commonwealth.
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Wpływ grzybów pleśniowych na pigmenty stosowane w dekoracjach ścian i stropów na przykładzie drewnianego kościoła pw. św. Stanisława Biskupa w Boguszycach

84%
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.
3
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FARBY DLA KONSERWATORÓW MALARSTWA – WŁaŚCIWOŚCI APLIKACYJNE I STABILNOŚĆ

84%
Szmit-Naud E.
Ochrona Zabytków
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2007
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issue 3
59-68
EN
We expect material used for retouchings to possess excellent stability throughout the process of aging and suitable application properties permitting their convenient use. The article presents the outcome of studies on solvent conservation paint employed for long and recently introduced onto the market. The data supplement previous research. The authoress offers pertinent information and compares the outcome of investigations concerning eight basic sets of painted layers obtained with: Maimeri (Italy; two types), RestaurArte (Italy), Charbonnel (France), Golden (USA), Gamblin (USA) and pigments (Kremer Pigmente, Germany) combined with acrylic binder Paraloid B-72 (Rohm & Haas, USA) as well as polyvinyl acetate Mowilith 20 (G. Berger O.F. Inpainting Medium, CTS, Italy). The article assesses paint fluidity, sheen, and changes of the appearance of the painted layers after varnishing as well as changes of colour and solubility occurring due to accelerated aging under the impact of light. The discussion of the research results contains practical conservation directives.
4
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Na czym i czym malowano w dobie romantyzmu w Krakowie

84%
Ślesiński W.
Ochrona Zabytków
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1969
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issue 2
117-130
FR
Le présent article constitue une continuation des é tu des menées par l ’auteur sur la technologie et les techniques picturales à l ’époque du romantisme {à с о т р . W. Ślesiński: De la technologie et des techniques picturales à l’époque du romantisme, „Ochrona Zabytków”, XIX, 1966, No. 3). Elles ont pour but la restitution de la technologie et des techniques picturales propres à la 1ère moitié du XIXe siècle non seulement pour approfondir notre science historique mais aussi pour des raisons pratiques, afin de préciser la date de la création et d’identifier l ’oeuvre d’art. Pour ces raisons chaque fait, même infime, peut avoir une ré e lle importance. Dans l ’article présent l ’auteur s ’occupe du problème des supports, des liants, des préparations, des colorants et des couleurs employées entre 1830 et 1860, surtout par les artistes peintres travaillant alors à Cracovie. Comme matériel de source sont utilisés pour ces é tu des les livres et les articles de la 1ère moitié du X IX e siècle, connus dans ce temps là à Cracovie, ainsi que les recherches effectuées par l ’auteur lui-même sur 23 tableaux de cette époque.
5
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Identyfikacja pigmentów polichromii we wnętrzach kamienicy nr 43 na Starym Rynku w Poznaniu

67%
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.
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Pigmenty a barevnost tradičních venkovských staveb na jižní Moravě

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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.
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