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Katedra Konserwacji Malowideł Sztalugowych i Rzeźby Drewnianej Polichromowanej

100%

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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1 Ochrona Zabytków

1 Medwecka Z.

1 1990

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Katedra Konserwacji Malowideł Sztalugowych i Rzeźby Drewnianej Polichromowanej