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Historia Wydziału Konserwacji warszawskiej Akademii Sztuk Pięknych

100%

Sobucki W.

Ochrona Zabytków

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1997

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issue 3

193-194

EN

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.

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Rekonstrukcja a dokument

86%

Fila K., Karwowska A.

Ochrona Zabytków

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1997

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issue 3

222-224

EN

The article discusses non-stereotype conservation solutions, presented upon the example of two paintings from the sixteenth and seventeenth century, which reveal numerous joint workshop features. Despite many similarities in the manner of painting, the technique of the underpainting and the state of preservation, it was decided to pursue different conservation premises. The authors present reasons decisive for the type of conduced conservation, the choice between a full reconstruction of the painting layer, on the one hand, and purest conservation which consists of the least possible intervention into the work of art. The decision about a given conservation manner is usually determined by the actual needs of the damaged painting and its future destination. The object can comprise a historical, costumological or didactic document, and does not have to serve as a museum exhibit.

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Ukraińskie malarstwo XIX i XX wieku: zarys głównych nurtów

71%

Krawczenko S.

TECHNE. Seria Nowa

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2019

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issue 3

29-49

EN

In the article Ukrainian painting of the 19th and 20th centuries: an outline of the main trends were presented the most important tendencies in Ukrainian painting of the last two centuries. Key figures in the development of realistic trends have been shown in such directions as portraits, landscape paintings and genre scenes. The most known works of painters were presented. An important role for the development of Ukrainian painting was presented, as well as the role of painters – pieriedwiznik’s (representatives of the realistic direction in Ukrainian painting) and the specificity of their work. On concrete examples of artists, painters from the turn of the 19th and 20th centuries, the penetration of Impressionism in Ukrainian art and its gradual manifestations in creativity were documented. The figures of avant-garde painters and the specificity of their work have been portrayed. The influence of the socio-political situation on the condition and development of Ukrainian painting in the 19th and 20th centuries has been underlined.

PL

W artykule pt. Ukraińskie malarstwo XIX i XX wieków: zarys głównych nurtów zostały przedstawione najważniejsze tendencje w malarstwie ukraińskim ostatnich dwóch stuleci. Zaprezentowano sylwetki głównych artystów związanych z nurtem akademizmu, realizmu i impresjonizmu, tworzących portrety, pejzaże i sceny rodzajowe. Osobne miejsce poświęcono niezwykle istotnym dla rozwoju malarstwa ukraińskiego – pieriedwiżnikom (przedstawicielom kierunku realistycznego) i specyfice ich twórczości. Na konkretnych przykładach artystów i ich dzieł scharakteryzowano przenikanie impresjonizmu do sztuki ukraińskiej. Podkreślono wpływ sytuacji społeczno-politycznej na stan i rozwój malarstwa ukraińskiego w XIX i XX stuleciach.

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Garść doświadczeń z opracowywania zbioru archiwalnych negatywów Państwowej Wyższej Szkoły Sztuk Plastycznych w Gdańsku, przechowywanych w bibliotece Akademii Sztuk Pięknych w Gdańsku

51%

Giziński P.

Biblioteka i Edukacja

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2017

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issue 12

PL

Teza/cel artykułu – Celem artykułu jest opisanie zbioru archiwalnych negatywów Państwowej Wyższej Szkoły Sztuk Plastycznych w Gdańsku, znajdujących się w Bibliotece Akademii Sztuk Pięknych w Gdańsku. Scharakteryzowanie własnych doświadczeń i podanie kilku wskazówek w trakcie opracowywania zbioru. Metody – W badaniach zastosowano metodę doświadczalną. Zebrane i opisane w artykule doświadczenia mogą być traktowane jako propozycje metod opracowania własnych zbiorów fotograficznych w innych instytucjach. Wnioski – Fotografie cechują się ogromnym zainteresowaniem ze strony użytkowników biblioteki. Koniecznym jest dokładne ich zewidencjonowanie i udostępnienie, co przyczyni się do lepszego poznania historii szkoły i jej wpływu na rozwój sztuki w regionie, a także podniesie prestiż placówki naukowej. Opracowywanie fotografii jest zadaniem fascynującym i jednocześnie trudnym, wymagającym od badacza dużo pokory, poświęcenia i cierpliwości.

EN

The aim of this article is to present a collection of archival negatives of the State Higher School of Fine Arts in Gdańsk, located in the Library of the Academy of Fine Arts in Gdańsk, describe the author’s experiences and offer some advice concerning the compilation process. Experimental method was used in the study. The described experience may be considered as proposals for methods of developing own photographic collections in other institutions. In conclusion, photographs are of great interest to the users of the library. It is important to record them and make them accessible. It will contribute to a better understanding of the history of the school and its impact on the development of art in the region, as well as the prestige of the scientific institution. Photography is a fascinating and difficult task, asking of the researcher great humility, dedication and patience.

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2 Ochrona Zabytków

1 Biblioteka i Edukacja

1 TECHNE. Seria Nowa

1 Fila K.

1 Giziński P.

1 Karwowska A.

1 Krawczenko S.

1 Sobucki W.

1 2019

1 2017

2 1997

Historia Wydziału Konserwacji warszawskiej Akademii Sztuk Pięknych

Rekonstrukcja a dokument

Ukraińskie malarstwo XIX i XX wieku: zarys głównych nurtów

Garść doświadczeń z opracowywania zbioru archiwalnych negatywów Państwowej Wyższej Szkoły Sztuk Plastycznych w Gdańsku, przechowywanych w bibliotece Akademii Sztuk Pięknych w Gdańsku