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Malarski wystrój pałacu w Radzyniu Podlaskim i rola Jana Bogumiła Plerscha

100%

Bernatowicz A.

Biuletyn Historii Sztuki

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2021

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vol. 83

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issue 2

377-424

EN

The unpreserved interiors of the Potocki Palace in Radzyń Podlaski designed by Jakub Fontana were one of the last original manifestations of Rococo aesthetics in Poland. The decoration was characterized by moderate ornamentation, a clear articulation of white panelling with the use of gilded moulds, frames, and pilaster strips, as well as overdoors in fancy, yet symmetrical frames. Some of the rooms were given wall decoration, according to archival records possibly executed entirely by Jan Bogumił Plersch, the main (however not only) painter employed for the Palace’s décor. He was also most likely the one to execute the overdoors whose affiliation with definite interiors as well as the definition of the significance in the whole decoration structure is undertaken by the Author: seascapes, mountain views, pastoral scenes, and compositions with fruit and flowers shown against park vistas. The latter reveal the closest affinity with still lifes of the French painter Augustin Dubuisson who decorated Sanssouci and the Royal Palace in Wrocław. The seascapes, instead, may have been modelled on Dutch prints, and were a reflection of Hollandism, a vogue imported from France of the time. Therefore, French affiliations are an important feature in the painting decoration of the Radzyń Palace, though in Fontana’s genuine design no direct model for it can be identified. Some of Plersch’s paintings are of a metaphorical undertone, and find their ideological confirmation in the decoration of the Palace’s elevation: the idea of a knight’s residence manifested with the use of panoplies in the Ball Room polychrome and the concept of a palace as a shrine of beauty and art, clear in the overdoors decorating the Library, and showing liberal arts, as well as Civil and Military Architecture. The programme made reference to the pax et bellum topos: heroic accomplishments of the ancestors were balanced by emphasizing peaceful initiatives of Eustachy Potocki, owner of the residence at the time.

PL

Niezachowane wnętrza pałacu Potockich w Radzyniu Podlaskim zaprojektowane przez Jakuba Fontanę, były jedną z ostatnich, oryginalnych manifestacji estetyki rokoka w Polsce. Cechowała je oszczędna ornamentacja, wyraźna artykulacja białych boazerii za pomocą złoconych listew, ram i lizen, oraz supraporty w fantazyjnych, lecz symetrycznych ramach. Niektóre sale otrzymały dekorację ścienną, wykonaną zapewne w całości – jak wynika ze źródeł archiwalnych – przez Jana Bogumiła Plerscha, głównego (choć nie jedynego) malarza zatrudnionego przy realizacji wystroju pałacowego. Jego dziełem były też najpewniej supraporty, które próbuję przypisać konkretnym wnętrzom i zdefiniować ich sens w strukturze całej dekoracji: widoki morskie, krajobrazy górskie, sceny pasterskie oraz kompozycje z owocami i kwiatami zaaranżowane na tle parkowych perspektyw. Te ostatnie najwięcej łączy z martwymi naturami francuskiego malarza Augustina Dubuissona, zdobiącymi Sanssouci i Pałac Królewski we Wrocławiu. Z kolei widoki morskie były najpewniej wzorowane na grafice holenderskiej i stanowiły refleks holandyzmu – mody płynącej z ówczesnej Francji. Tak więc afiliacje francuskie są istotnym rysem malarskiego wystroju pałacu w Radzyniu, choć trudno mówić w tym autorskim projekcie Fontany o bezpośrednich wzorach. Niektóre malowidła Plerscha mają metaforyczny charakter i znajdują swe wyraźne ideowe potwierdzenie w dekoracji elewacji pałacowych: idea siedziby rycerza zamanifestowana za pomocą panopliów w polichromii Sali Balowej oraz koncept pałacu jako świątyni piękna i sztuki, czytelny w supraportach zdobiących Bibliotekę, przedstawiających sztuki wyzwolone, a także Architekturę Cywilną i Wojskową. Program ten nawiązywał do toposu pax et bellum – heroiczne zasługi przodków zrównoważono podkreśleniem pokojowych inicjatyw ówczesnego właściciela rezydencji – Eustachego Potockiego.

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Prace konserwatorskie i rekonstrukcja malowideł na złocie w Gabinecie Konferencyjnym

89%

Iwanicka K., Jachacz B., Rudniewska H.

Ochrona Zabytków

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1987

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issue 1-2

127-132

EN

The Conference Room in the Royal Castle in Warsaw is rather a small room, set on the plan of an irregular o c ta gon, a d jo in in g the Throne Room. Its very rich painting decor was made by Bogumił Plersch in 1784—1788. The p aintin g s are done on gold in a distemper techniue in the style of Raphael’s grotesque with plant adornments th a t represent the setting for portraits of seven 18th-century European rulers. Under the portraits we find five compositions , en grisolle, whose subject-matter is associated with the country of the ruler on the portrait above. Just like the walls, the plafond is also decorated; it also has a similar ornamental decoration with eight sphinxes introduced into it. In 1940 the paintings were cut from the walls and secured before the planned blowing-up of the Castle by the Germans. Parts of the paintings were first stored in the National Museum and then hidden in several places. They were protected by inundating their reverse with 5 cm layer of gyp- * sum. Unfortunately, most of them got destroyed during the war. Nevertheless, this is the only o rigina l painting in the Royal Castle preserved to such a degree (nearly 1 / 4th of the wall surface and ca 4/5th of the painting on the p la fond were saved). After the war, in 1965, the preserved deta ils o f polychromy were glued and put together. The reverse sides of the original were strengthened with lime wate r and inundated with mortar containing chalk and polyvinyl alcohol as well as with a metal net construction. Parts of the painting were put together in form of the pictures encircled with wooden frames and they are to be put on display in the National Museum. Besides, they were subjected to various conservation treatments such as cle aning, fixing the scaled polychromy, while missing parts of the groundwork, paint and g ild in g were made up. In 1971 the decision was taken up to reconstruct the Castle and in 1977 the Workshop fo r the Conservation of Paintings, attached to the State Ateliers fo r the Conservation of Cultural Property — branch office in Warsaw, commenced conservation work on the painting decor and gildings of the preserved details of wood-carving and stucco work. After compiling archival, photographic and inventory material the work started. A schematic drawing of the plafond was made on a scale 1 :1 with preserved and made-up missing elements marked on it. The same procedure was employed in the conservation and reconstruction of the polychromy on the walls. The layout of the ceiling with accordingly distributed elements was placed inside a newly-built ca b inet on a rig id scaffolding. "Low walls" with polychromy were fixed on a "fa ls e ” roofing by means of a special construction designed by A. Pawlikowski. Parts of o rigina l p a in tings on walls were fixed with brass ties in specially located recesses in the walls on a scale 1:1 in accordance with schematic drawings. A few layers of chalk and glue whiting, tinted and polished, were put under reconstructed polychromy. A special technique of gild in g and painting, similar to th a t used by Plersch, was worked out. The g ilding on "m ix tio n ” with pure gold was app lie d and the reconstruction was done in a distemper technique (adhesive made from the egg, gelatine and dammar varnish). All this was preceded with many trials and studies employing, i.a., painting techniques of Plersch in the Royal Castle and those found in the Łazienki Park in Warsaw and the Mansion House at Jordanowice. Paintings on wooden wainscot g o t reconstructed and all preserved gild e d elements of wood-carving and stuccowork were subjected to conservation. Stippling was done with hatches with gold powder, then polished, differentiating thus o rigina l parts from the reconstructed ones, which were done with gold plates. The conservation and reconstructional work was carried out between May 1977 and July 1979 by the following conservators headed by Halina Rudniewska: Katarzyna Iwanicka, Barbara Jachacz, Małgorzata Kozińska, Jerzy Suchwałko and Jerzy Szymczewski. The reconstruction of the polychromy on the winscoting was done by Kalina Stawicka, while the g ild in g work — by the team headed by Barbara Pawłowska.

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Konserwacja grotesek J. B. Plerscha na ścianie północnej i fragmencie ściany północno-wschodniej westybulu dworu Mokronowskich w Jordanowicach

71%

Wierzbicka M., Sawicki T.

Ochrona Zabytków

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2001

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issue 4

372-384

EN

The grotesques by J. B. Plersch in Jordanowice were conserved thrice during the post-war period — in 195 0 - 1951, 1952-1953 and 1999-2001. The material applied upon the first two occasions and the fatal technical state of the manor house extensively damaged the paintings. The discussed article presents the “deconservation” and “reconservation” of a fragment of the J. B. Plersch decorations — the topic of a diploma study written in the Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts in Warsaw. The conservation dating from the 1950s was severely criticised, although it should be taken into consideration that it was conducted for the p u rpose of salvaging the paintings by resorting to material available at that time — shellac, oil, egg white, wax, plaster, etc. During the latest conservation, it was necessary to tackle difficult technical problems associated with the considerable salination and unsatisfactory condition of the plaster as well as the necessity of removing earlier applied material, which rendered the painted layer indelible. Disintegrated fragments of the plaster were hardened by means of silicone resin Funcosil Steinfestiger 300. The additional strata of wax, oil and shellac were removed with assorted solutions of solvents. The following stages of conservation included emulation retouching of the missing elements of the painted layer and small reconstruction. Such an aesthetic solution is justified by the fact that the polychrome constitutes the most important element of the decoration of the vestibule. Missing elements of the grotesques could be reconstructed u p o n the basis of better preserved parts of the decoration on other walls and the doors. A comparison with grotesques by J. B. Plersch in the White House and the Palace on Water in the Warsaw Łazienki proved to be of great assistance.

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"Peintures des arabesques" J. B. Plerscha we dworze Mokronowskich w Jordanowicach - historia, technika wykonania i problemy konserwatorskie

71%

Potocka A. D.

Ochrona Zabytków

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2001

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issue 4

358-371

EN

In 1782 Jan Bogumił Plersch used the tempera technique to execute painted decorations of the walls, ceiling, wardrobes and two doors in the octagonal study in the Mokronowski manor house in Jordanowice. The decoration involves arabesque-grotesque ornaments and candelabra arabesques composed of masks and medallions with allegorical figures depicted against a light-hued backdrop. The general purpose of the conservation was to halt the destruction and degradation of the historical polychrome by gluing loose fragments and reinforcing strata of the floating coat, to gether with the construction foundation (by using organic silicone compounds), and halting the unhampered migration of salt within stratigraphie layers. It was necessary to employ desalination compresses. Subsequently, the polychrome surface was cleaned and secondary stratification — repainting, darkened retouching, putty and patches — were removed. The execution of the supplementation was adapted to the degree of the destruction of adjoining strata, with due care not to introduce measures that could prove to be excessively strong, cohesive and binding. It became indispensable to use wide-porous plaster. Aesthetic conservation encompassed both the ornaments and the background of the decoration as well as the reconstruction of n o n -ex tan t fragments of the polychrome. Due to the extensive devastation of the original painted layer it was necessary to conduct numerous consultations and detailed co-ordination concerning the character and range of the reconstruction. The reconstruction of the painted stratum was carried out upon the basis of an analogy with preserved fragments in the study, archival material and comparisons with other realisations by J. B. Plersch. Conceptions of aesthetic solutions were presented on boards. Owing to the decorative nature of the polychrome, it was decided to resort to emulation retouching in a minimally lighter tone.

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Malarski wystrój pałacu w Radzyniu Podlaskim i rola Jana Bogumiła Plerscha

Prace konserwatorskie i rekonstrukcja malowideł na złocie w Gabinecie Konferencyjnym

Konserwacja grotesek J. B. Plerscha na ścianie północnej i fragmencie ściany północno-wschodniej westybulu dworu Mokronowskich w Jordanowicach

"Peintures des arabesques" J. B. Plerscha we dworze Mokronowskich w Jordanowicach - historia, technika wykonania i problemy konserwatorskie