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1

Polichromia w krużgankach klasztoru oo. Bernardynów w Przeworsku

100%

Cichorzewska-Drabik M.

Ochrona Zabytków

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1962

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issue 4

70-75

2

Zakres diagnostyki w konserwacji malarstwa ściennego

100%

Mazur A.

Ochrona Zabytków

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1997

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issue 3

256-257

EN

The author draws attention to the particular significance of a thorough distinction of factors shaping the conditions that influence murals, prior to the setting up of conservation programmes concerning historical objects. Mentions is made of the necessity for extensive control of buildings decorated with polychromy, and their surrounding. The article places emphasis on the importance for the durability of the object of the awareness on the part of its administrators of the consequences of planned repair and installation undertakings. This pertains especially to control of the existing and newly introduced heating, sewage, thermal insulation, anti-dampness and drying systems as well as others, which exert a long range impact upon changes in the conditions of the surrounding of murals. The attention of conservators should be also attracted to all preparations introduced in the course of conservation and repair into brick constructions and wooden elements of edifices, as well as their subsequent assessment from the point of view of future effects for the polychromy. This task belongs to the duties of conservators of murals to a degree much larger than in cases of transferable objects. Finally, the author stresses the importance of those factors in the training of conservators since a superficial approach renders the effects of conservation short-term.

3

Kaplica Trójcy Św. na zamku w Lublinie : sesja naukowa 24-26 kwietnia 1997

100%

Lewandowska I.

Ochrona Zabytków

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1997

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issue 2

172-174

4

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

100%

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.

5

"Rokokofassung und Materialillusion. Untersuchungen zur Polychromie sakraler Bildwerke im suddeutschen Rokoko", Ulrich Schiessl, Mittelwald 1979 : [recenzja]

88%

Ślesiński W.

Ochrona Zabytków

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1981

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issue 1-2

117-118

6

Ślady polichromii na nagrobkach żydowskich z obszaru dawnego powiatu olkuskiego

88%

Rozmus D.

Ochrona Zabytków

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2000

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issue 1

85-92

EN

The gravestones (matsevahs) presented in this article come from Jewish cemeteries in Olkusz, Sławkow and Pilica. The chronology of their origin dates from a period spanning from the mid-nineteenth century to 1941. As a branch of religious art, Jewish sepulchral art demonstrates direct similarity with sacral paintings in synagogues, with which it shares joint roots. It also developed a certain set of symbols depicted usually in the form of bas reliefs or reliefs. The bas relief was supplemented by totally original polychromy. Today, traces o f colourful gravestone decorations are the only examples of unprofessional Jewish painting associated with sacral art. Vividness, sharp transitions and contrasting colour indicate a certain Oriental strain, which for centuries accompanied Jewish art. It would be useful to examine paint samples in order to determine their composition, types of priming, pigments and binders. Undertakings of this type, however, are costly and require group effort. Another worthwhile conception is a special questionnaire, which would include data concerning polychromy. Finally, it is w orth postulating additional colour photographs for the purposes of inventories in those concrete cases when colours are visible. In rites and mythologies colour usually possesses, or possessed a strictly designated meaning, frequently not totally clear. Only a thorough study focusing on traces of polychromy on Jewish gravestones could provide us with (or bring us closer to) answers to the question concerning the extent to which aesthetic sensitivity of the past survived within “folk” art to our times. Hence the urgent need for pertinent publications, especially if we take into consideration the damage incurred to historical monuments by atmospheric conditions.

7

Treści ideowe polichromii w kościele pw. św. Michała Archanioła w Żernicy

75%

Gorzelik J.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2016

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vol. 4

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issue 4

167-183

PL

Polichromie wzniesionego w 1661 roku drewnianego kościoła św. Michała Archanioła w Żernicy, zrealizowane zapewne w dwóch etapach w 2. połowie XVII wieku, stanowią jeden z bardziej interesujących zespołów malowideł doby potrydenckiej na Górnym Śląsku. Program ikonograficzny zdeterminowany został przez dwa główne czynniki: imperatyw wyznaniowego odgraniczenia, towarzyszący procesowi konfesjonalizacji, oraz związki z zakonem cystersów, w których dobrach położona była żernicka parafia. W przestrzeni kościoła szczególnie wyeksponowano malowidła prezentujące katolicką naukę o sakramentach i ofiarnym charakterze mszy świętej oraz tradycję kultu obrazów. W pierwszym z przypadków ukazano charakterystyczną dla zreformowanego, potrydenckiego katolicyzmu praktykę udzielania sakramentów. W drugim przedstawiono grupę postaci adorujących niezachowany do dziś obraz Marii z Dzieciątkiem w typie Hodegetrii aplikowany do belek. Na pozostałych ścianach umieszczono między innymi wizerunki świętych szczególnie czczonych w zakonie cystersów – Benedykta z Nursji i Bernarda z Clairvaux. W malowidłach czytelne są również nawiązania do mistycznego modelu pobożności, propagowanego przez zgromadzenie na Śląsku. Za sprawą polichromii kościół w Żernicy stał się przestrzenią katechizacji wiernych w duchu Tridentinum.

EN

Polychrome decorations of built in 1661 the wooden Church of St. Michael the Archangel in Żernica, completed probably in two stages in the second half of the seventeenth century, are one of the most interesting painting series of the post-Tridentine times found in the Upper Silesia region. Iconographic program was determined by two main factors: the imperative of religious demarcation accompanying the process of confessionalization, and connections with the Cistercian Order on whose estate the parish of Żernica was located. In the space of the church a special place belongs to paintings presenting Catholic teaching on the sacraments, the sacrificial nature of the Mass and the tradition of the worship of images that were exposed in particular. The first of the analyzed paintings shows characteristics of the reformed, post-Tridentine Catholic practice of the sacraments. The second depicts a group of people adoring the image of the Virgin and Child in the Hodegetria type applied to the wooden beams that unfortunately did not manage to survive to this day. On the church’s remaining walls there were placed images of saints particularly venerated by the Cistercian Order, including Benedict of Nursia and Bernard of Clairvaux. Furthermore, the paintings are also full of clear references to mystical devotion model propagated by the Assembly in Silesia. Because of the analyzed in the article polychrome decorations the church of Żernica became a catechization space of the faithful in the spirit of Tridentium.

8

Problemy konserwacji i rekonstrukcji barokowego malarstwa iluzjonistycznego na fasadzie kamienicy Rynek 8 we Wrocławiu

75%

Żelbromski J.

Ochrona Zabytków

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1994

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issue 3-4

306-308

EN

House no 8 is one of the oldest houses in the Market Square in Wrocław. In 1672 a new eastern facade was added with a figurai composition depicting the Emperor Leopold I and seven electors. During the eighteent and nineteenth century the illusionistic polychromies were supplemented and to a considerable extent repainted due to the poor state of their preservation. In the 1960s the surviving fragments of the paintings were secured. Scattered on the wall, darkened and illegible, they ceased to fulfil their original function. A decision made in 1991 to continue conservation also recognised the necessity of reconstructing the unique painting upon the basis of iconographie material obtained from Marburg. Conservation work was completed in 1993

9

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.

10

PRÓBA REKONSTRUKCJI PIERWOTNEGO WYGLĄDU TZW. RETABULUM Z WRÓBLEWA NA TLE WYBRANYCH STRUKTUR OŁTARZOWYCH W EUROPIE Z XV I POCZĄTKU XVI WIEKU

63%

Ruszkowska A.

Ochrona Zabytków

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2004

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issue 3-4

83-94

EN

The article discusses assorted probable variants of the appearance of the so-called altar from Wróblewo, and outlines brief schemes of the structures and forms of European altars from the period. The so-called altar from Wróblewo, executed in about 1500, was in all likelihood intended for one of the churches in Gdańsk. The founder of the retable was a representative of the patrician Scheweke family (probably Johan Scheweke). In 1591, a second foundation encompassed already four painted wings of the altar structure. The middle part and the remaining elements were either destroyed or lost prior to this date. The wings were subsequently transferred to a private chapel of the Scheweke family in Wróblewo near Gdańsk, and remained there to the destruction of the chapel in approx. 1945. The preserved three wings are at present featured in the National Museum in Gdańsk. The extant fragments, i.e. the three wings as well as source data about the fourth wing make it possible to deduce information about links with the non-extant corpse, as well as the altar as a whole. This task is assisted by the preserved frame and an opportunity of recreating the sequence of the depicted events. The wing obverses, showing scenes from an apocryphainspired of the Virgin Mary, indicate the Marian character of the whole retable. The series starts with The Offering of Mary in the Temple, followed by The Miracle with the Rod. The central part of the altar would have contained consecutive depictions supplementing the story of the Holy Virgin Mary, closed by the last wings, i.e. The Slaughter of the Innocents and Respite While Fleeing to Egypt. Comparative analyses with the forms of other European altar structures make it feasible to determine the existence of a number of other presumable combinations of the retable’s appearance. The absence of information concerning other fragments of the retable and the technique of their execution, as well as the central part (carved or painted), also decidedly reduces the possibility of explaining the original appearance of the altar and multiplies assorted variants. Apparently, there is no doubt as regards the appearance of the altar with a closed middle part, which showed likenesses of saints standing against the backdrop of walls. The style of the execution of the wings, the original polychrome, and the selection of the topics, together with a comparative analysis involving other European retables from a similar period provide only a partial solution to the original appearance of the altar from Wróblewo, which reflected, e. g. Low Countries and German impact. Due to the absence of more numerous data, the selection of one of the solutions proposed in the article, or elsewhere, continues to remain an open issue.

11

Freski z XVI w. z Sali Radnych Ratusza Miejskiego w Świdnicy : kolejna konserwacja

63%

Wantuch-Jurkiewicz K.

Ochrona Zabytków

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2002

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issue 3-4

317-325

EN

The author discussed the conservation of sixteenthcentury frescoes in the Councilors’ Chamber in the Town Hall in Świdnica. The scenes depicting the Last Judgment, the Crucifixion and Judgment o f the Harlot present a high artistic level dating from the end of of the Gothic period and the beginning of the Renaissance. The purpose of the conservation, conducted for the fourth time since the discovery of the painting (1960), was to eliminate the effects of the unsatisfactory condition of the building during the past several years. Conservators concentrated basically on aesthetic issues, associated with a special adaptation of the interior for the purposes of a showroom in the Museum of Old Trading, housed in the Świdnica Town Hall. Corrections of old, darkened and lightened retouching were followed by coloured reconstruction on large patches of plaster, which up to now deformed the legibility of the composition. The presentation of the painting - an imitation of stone tracery - whose fragments were earlier discovered on the southern wall, supplements the dominating Gothic nature of the whole composition.

12

Obraz, słowo i ornament jako nierozłączna całość w polichromii cerkwi św. Mikołaja Cudotwórcy w Michałowie autorstwa Adama Stalony-Dobrzańskiego

63%

Pawlicka I.

Latopisy Akademii Supraskiej

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2021

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vol. Obraz - Słowo - Litera

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issue 12

265-281

EN

Created in the years 1954–1955, polychrome of the church of St. Nicholas the Wonderworker in Michałowo is important work of Orthodox art. The interior decoration, both in design and execution, is an individual and complete work of Adam Stalony-Dobrzański. It reveals the most important features of his style, which crystallized in the 50’s. The paintings are filled with quotes from medieval traditions, both Byzantine and Gothic. Adam Stalony-Dobrzański introduced new interpretative qualities and made a synthesis of two traditions – the East and the West, unprecedented in contemporary sacred painting, translated into the language of modernity, and illustrated in his own, innovative way. Along the ornamental stripes of the ornamental decoration, the artist placed hand-painted sequences of letters forming inscriptions – quotations from the Holy Bible, explaining the meaning of figural representations. They complement, explain and develop the ideological meanings shown in the form of an image. The iconographic arrangement of the wall decorations, which is a transformation of the canon formed after iconoclasm in the spaces of cross-domed temples, was adapted to the architecture of the interior of the wooden church, creating a homogeneous and coherent ideological program.

13

Polichromie cerkwi Narodzenia Najświętszej Marii Panny w Gródku. Próba rozpoznania

51%

Tomalska-Więcek J.

Latopisy Akademii Supraskiej

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2021

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vol. Obraz - Słowo - Litera

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issue 12

283-291

EN

Byzantine temples were richly equipped with polychromes, mosaics and frescoes, constituting a very carefully thought-out ideological complement to the church. In each artistic era, they were an expression of their times. In the modern era, sometimes there were polychromes referring to Byzantine works or – in Uniate churches – corresponding to the spirit of the era, as in the church in Czyże in Podlasie. In the mid-twentieth century, Adam Stalony-Dobrzański, an artist associated with Krakow, undertook the creation of new polychromes in new Orthodox churches in Podlasie, corresponding to the challenges of contemporary art. The content of the article is, above all, an attempt to introduce this masterpiece in the first place.

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Polichromia w krużgankach klasztoru oo. Bernardynów w Przeworsku

Zakres diagnostyki w konserwacji malarstwa ściennego

Kaplica Trójcy Św. na zamku w Lublinie : sesja naukowa 24-26 kwietnia 1997

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

"Rokokofassung und Materialillusion. Untersuchungen zur Polychromie sakraler Bildwerke im suddeutschen Rokoko", Ulrich Schiessl, Mittelwald 1979 : [recenzja]

Ślady polichromii na nagrobkach żydowskich z obszaru dawnego powiatu olkuskiego

Treści ideowe polichromii w kościele pw. św. Michała Archanioła w Żernicy

Problemy konserwacji i rekonstrukcji barokowego malarstwa iluzjonistycznego na fasadzie kamienicy Rynek 8 we Wrocławiu

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

PRÓBA REKONSTRUKCJI PIERWOTNEGO WYGLĄDU TZW. RETABULUM Z WRÓBLEWA NA TLE WYBRANYCH STRUKTUR OŁTARZOWYCH W EUROPIE Z XV I POCZĄTKU XVI WIEKU

Freski z XVI w. z Sali Radnych Ratusza Miejskiego w Świdnicy : kolejna konserwacja

Obraz, słowo i ornament jako nierozłączna całość w polichromii cerkwi św. Mikołaja Cudotwórcy w Michałowie autorstwa Adama Stalony-Dobrzańskiego

Polichromie cerkwi Narodzenia Najświętszej Marii Panny w Gródku. Próba rozpoznania