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Typologia drewnianych krosien malarskich na podstawie kryterium złączy

100%

Diakowska-Czarnota A.

Ochrona Zabytków

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1984

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issue 1

32-39

EN

The object of the article is to present results of the studies on the history of the construction of wooden painters’ stretches and to make a further attempt to systematize their names. The present typology of the stretchers is the result of a critical analysis of the works by R.D. Buck, J. Brackerf, J. Gałaszek and A. Diakowska-Gzarnota. It is based on a methodological typology of stretchers drawn by R.D. Bucik iin 1972, who divided the stretches into 6 types having some features in common, He also distinguished out sub-types. The above scheme has been slightly modified, namely all singled-'out types of joints got divided into tiwo groups, i.e. 1 — rigid and 2 — movable connections. Each drawing illustrating the kind of the connection has been supplemented with a general description of the place and time of its occurrence. The examples have been given iin annotations. Unfortunately, it has not been possible to have such detailed information for all of the illustrations.

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Teoria i praktyka rekonstrukcji na przykładzie malowideł ściennych w kaplicy św. Jakuba w Kościele Mariackim w Gdańsku

63%

Diakowska-Czarnota A., Kozarzewski M.

Ochrona Zabytków

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1988

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issue 2

110-119

EN

After the overtaking of the church by Protestants, mural paintings in St Jacob’s Chapel in the Church of Our Lady in Gdańsk dating back to the thirties of the 15th century were painted white and until recently no one has known of their existence. This article is the second report published by the same authors on paintings in St Jacob's chapel. The first of them („Ochrona Zabytkow", 1983, nos 3 -4 , p. 258) concerned paintings on the buttress depicting a figure of Saint Jacobs and a scene of the Last Judgement, which were uncovered, preserved and restored in 1982. The present article contains a report of the uncovering, preservation and resoration of paintings on the walls of the altar's niche. The work was completed in 1986. The paintings in the niche depict the Holy Trinity, passion scenes from The Last Supper to Descent from the Cross as well as The Entombment and Descent to the Limbo. The two conservation projects, diffe rin g from each other with the employed method of making-ups, on tho buttress "tra tte g io ", in the niche "w a sh ing ", provided inspiration for a number of purposes and methods of restoration. These considerations provide the basic content of the present article. There was some reflection on whether or not and how to restore and how to reconcile some inconsistency between the value of the monument as a document and its d id a c tic and aesthetic function in a sacral in te rior. Qu o ting various voices and opinions the authors en deavoured to substantiate the decision to undertake reconstruction. A separate place was devoted to the method of introduced complements. An analysis was made of the reconstruction carried out on the buttress by the „tra tte g - g io " technique and its theoretical assumptions were considered. As a result of that „tra tte g io ” was replaced with washing, using water-colours fo r that purpose. To illustrate d ifficu ltie s encountered by the executor, restoration work on some scenes was described. Attention was paid to the importance of an iconographie interpretation to the form of making-ups introduced and the need fo r cooperation with an a rt historian in this field. Of interest is an inconsistency described herein of the historian and the conservato r in the scene of "The Entombment". Finally, the authors draw a ttention to the importance of a clear formulation of assumptions, thanks to which it is possible to foresee a fin a l form of the executed conservation project.

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Analiza budowy technicznej drewnianych, polichromowanych rzeźb Madonny i św. Jana Ewangelisty z kościoła Najświętszej Marii Panny w Gdańsku

63%

Diakowska-Czarnota A., Rozłucka Z.

Ochrona Zabytków

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1990

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issue 1

34-43

EN

The technical structure is described along with the technique of making tw o wooden polychromed sculptures of the Madonna and St. John the Evangelist, which date back to 1 4 2 5 -1 4 3 0 and come from the three-figure group of the Crucifixion from the chapel of 11 -thousand Virgins of the Church of Our Lady in Gdańsk. These sculptures have been subjected to preservation. On the basis of analysis of the sculpture's X-ray pictures, following their direct observation and studies on the type of wood, a presentation is made of the construction of the wooden base of the sculptures along with a description of the manner of sculpting. In order to establish the technical structure of the polychrome work, which in the case of both sculptures showed a presence of multi-layer repaintings, it was necessary to carry out detailed chemical studies. The results of these made it possible to determine the thickness of the layers, their sequence and composition (the type of pigments and binders used). There was a great resemblance of the technical aspect of the polychrome work of both sculptures. Chemical studies supplemented with a series of experiments and preservation undertakings made it possible to establish the chronology of the individual layers of the polychrome work and led to the conclusion that both the Madonna as well as the St. John the Evangelist sculptures had three layers of 19th-century repainting on the original 15th-century polychrome work. The final outcome is a description of the structure, appearance and the technique of execution of the original polychrome work and of the three repainted layers.

4

Odsłonięcie, konserwacja i restauracja części wystroju malarskiego kaplicy św. Jakuba w kościele NMP w Gdańsku

63%

Diakowska-Czarnota A., Kozarzewski M.

Ochrona Zabytków

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1983

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issue 3-4

258-260

EN

About 1960 during bricklayer’s works carried out in St Mary’s Church in Gdaństk, the workers of a Gdańsk Divisionof the Ateliers for Conservation of Cultural Property found out in a south aisle of the presbytery in St Jacob’s Chapel the existense of polychromy under old whitetewashes. It was then stated that was the painting depicting a detail of Last Judgement. The work on this wall painting has been recently resumed. The white-was-hes have been removed uncovering, for technical reasons, only small parts. The uncorvered painting has a form of a narrow belt (1,4 m wide and 9,3 m high). Conservation and restoration work was carried out by a team of workers from the Toruń University of Nicolaus Copernicus. After removing the remaining parts of white-washes from the painting with scalpes and bread crumb, plaster loosened from the base was cemented with a 15—25R/o water emulsion of vinyl poly acetate (Talens, Holand) with the addition of whiting as an extender. A serious problem represented yellow stains appeaning on the surface of the painting caused by a migration of ferric salts during smoothing down the blisters. It was possible to remove the staining partially by putting wet compresses from wood-wool. Attempts to impregnate blisters from inside with solutions of Paraloid in toluen and of PMB in acetone ended in failure. The missing parts in the painting were done with hatching (trateggio). Preserved parts of polychromy made it possible to reconstruct the form and colours of basic elements. Water-colour paints made by Talens and Winsor Newton were used for retouching. A preliminary stylistic analysis suggests the effect of Czech painting, pronounced in particular in the figure of St Jacob. A full hictoric and iconographie interpretation will be possible only after the uncovery of all polychromy.

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Typologia drewnianych krosien malarskich na podstawie kryterium złączy

Teoria i praktyka rekonstrukcji na przykładzie malowideł ściennych w kaplicy św. Jakuba w Kościele Mariackim w Gdańsku

Analiza budowy technicznej drewnianych, polichromowanych rzeźb Madonny i św. Jana Ewangelisty z kościoła Najświętszej Marii Panny w Gdańsku

Odsłonięcie, konserwacja i restauracja części wystroju malarskiego kaplicy św. Jakuba w kościele NMP w Gdańsku