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Historia Wydziału Konserwacji warszawskiej Akademii Sztuk Pięknych

100%

Sobucki W.

Ochrona Zabytków

1997

issue 3

193-194

The history of the Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts dates back to the establishment on 4 September 1947 of a Study for the Conservation of Monuments of Painting at the Academy of Fine Arts in Warsaw. The initiator and greatest adherent of this undertaking was Michał Walicki, historian of art and lecturer at the Academy from 1931. The Study was supervised directly by the Rector of the Academy, and contained two Chairs dealing with the Conservation of Painting and Painting Techniques. The head of the latter and the Study as a whole was prof. Edward Kokoszko, and the head of the Chair for the Conservation of Painting was prof. Bohdan Marconi. Both professors had at their disposal extensive knowledge and considerable conservation experience. Already in 1936, prof. Kokoszko acted as the organiser and head of one of the first Polish workshops for painting techniques and conservation, which was set up in the Warsaw-based Municipal School of the Decorative Arts and Painting, while prof. Marconi, prior to his work in the Academy of Fine Arts, directed a Conservation Workshop in the National Museum and a State Workshop for the Conservation of Painting, located in the building of the Zachęta Gallery, and conducted by the Main Management of Museums and the Protection of Historical Monuments, which conserved i.a. the Battle o f Grunwald by Jan Matejko. In 1950, the two higher art schools in Warsaw — the Academy of Fine Arts and the State Higher School of Fine Arts — became merged into an Academy of Plastic Arts (a name retained until 1957). The new academy established nine departments, including the Department of Conservation, the outcome of the expansion of the heretofore Study which now gained new specializations. The Dean of the Department was prof. Edward Kokoszko, and after his resignation in January 1951, the post was entrusted to prof. Bohdan Marconi. The Department of Conservation was composed of five specializations: conservation of painting (prof. Bohdan Marconi), conservation of decorative arts (prof. Jozef Grein), conservation of sculpture (assistant prof. Jan Ślusarczyk), conservation of graphic arts (prof. Bonawentura Lenart) and the conservation of murals (assistant prof. Karol Dąbrowski). Furthermore, the Department held courses and lectures on the history of art, the history and theory of conservation, hand-drawn perspective, technology, physics and chemistry, drawing, painting and sculpture. Unfortunately, in 1952, the development of conservation studies at the Warsaw Academy of Fine Arts was halted for many years. First the department was transformed once again into a Study, and then in 1964 — into a Chair for Conservation within the Department of Painting. This last event coincided with the retirement of prof. Marconi, who exerted an essential impact on the heretofore image of conservation in the Warsaw Academy. The Department of the Conservation of Works of Art was reactivated as late as 1972, and its Dean was docent Juliusz Bursze. The Department embarked upon the creation of new chairs, institutes and workshops as well as work on new curricula. The need to increase the number of staff members proved to be particularly urgent. The attainment of a complete form by the Department was favoured by a move to an historical building in 37 Wybrzeże Kościuszkowskie, regained by the Academy in 1975. The building was originally erected in 1914 for the needs of the School of Fine Arts thanks to funds provided by the Kierbedź family and according to a design by the architect Alfons Gravier. During the inter-war period, it was the seat of the Academy of Fine Arts. The first to be moved to the retrieved building was the conservation of painting and polychromy sculpture, and then the remaining workshops of the Department. The move took place during the term of office of the new Dean, Adam Roman. In the 1976/1977 academic year, the Department of the Conservation of Works of Art included already four chairs and one institute. The Chair for the Conservation of Painting and Polychromy Sculpture was headed by Juliusz Bursze, the Chair for the Conservation of Old Prints and Graphic Art — by Tadeusz Tuszewski, and the Chair for the Conservation of Sculpture and Architectonic-Sculpted Elements — by Adam Roman. The three conservation chairs were accompanied by the Chair for General Art Training headed by Stefan Damski. The whole structure was supplemented by the Institute of Chemistry, Physics and Special Photography, directed by Daniel Tworek. The post of Dean was held successively by Juliusz Bursze, Piotr Rudniewski, Jerzy Nowosielski, Wojciech Kurpik and, at present, Andrzej Koss. In 1981, the further expansion of the Department led to the establishment of a Chair for the Conservation and Techniques and Technology of Murals, and in 1992 — the Chair for the Conservation and Restoration of Historical Fabrics. In 1988, the Department introduced a six year-long course of studies. Up to the end of 1996, conservation studies at the Academy of Fine Arts in Warsaw were completed by 445 students. The Department enjoyed a well-grounded position among other departments of the Academy, and two of its professors had the honour to fulfil the function of Rector: prof. Juliusz Bursze in 1982-1984, and prof. dr. Wojciech Kurpik (at present). The Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts in Warsaw also occupies a permanent place among similar centres in Poland and abroad.

Z dziejów nauczania technologii i technik malarskich

86%

Ślesiński W.

Ochrona Zabytków

1965

issue 3

35-38

L’auteur traite son article en qualité de compterendu sur l’histoire de la technologie et de la technique de peinture avant qu’elle ne soit élaborée en détails. Il aborde cette matière d’autant plus volontiers que son intention principale est d’attirer l'attention sur quelques faiits peiu ou pas du tout connus, qui sont: 1) L’adepte suivant ses études en peinture rencontrait autrefois de plus grandes difficultés et peines à terminer la technologie et la technique de peinture qu’à présent, et, en plus, cette discipline durait bien plus longtemps. 2) La crainte de ne pas être forcé de donne” aux beaux arts et au métier la même importance a eu, selon l’avis de l’auteur, un reflet défavorable sur la technologie et la technique de peinture. Cela s ’esit manifesté avant tout par l’abandonnement presque total des étude® en technologie dans les Académies des Beaux Arts de cette époque. 3) Les cours et les séminaires systématiques et isolés de la technologie et de la technique de peinture furent introduits seulement à la fin du XIX-ème siècle. 4) Du moment où l’éducation systématique de la technologie et de la technique fut introduite, une diversité manifeste s’est laissée apercevoir dans la manière de préparer les cours et le séminaires par des lecteurs de profession chimique ou des peintres enseignant ce sujet. 5) L’auteur de cet article a accordé le plus d’attention à l’histoire des études de la technolog'e et de la technique de peinture à l’Académie des Beaux Arts à Cracovie (depuis le moment de l’introduction de cours permanents jusqu’à l’année 1939).

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Historia Wydziału Konserwacji warszawskiej Akademii Sztuk Pięknych

Z dziejów nauczania technologii i technik malarskich