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Program konserwatorski "Panoramy Racławickiej" i proponowane do jego realizacji materiały

100%

Wójtowicz R.

Ochrona Zabytków

1984

issue 4

256-266

After the Second World War, in the years 1949—50, 1956—57, 1970—73 attempts were made at the conservation of the Racławice Panorama. None proved to be particularly successful. In 1981 the present Ateliers for the Conservation of the Racławice Panorama began to operate. The Panorama, being a unique work of art, required an altogether new method of conservation. The present programme for iits restoration was worked out and executed by the Ateliers. It was based on the solutions supplied by the author of this article which were supported with extensive cycles of laboratory research. It was proved that the work on the disassembled panorama sould follow three stages: 1. work on the reverse and front surfaces of the individual segments and the preparation for their suspension; 2. suspension of the segments; 3. integration of the segments into a complete picture ’’doubling”, reconstruction of the paintwork. More precisely, the following works were required: cleaning of the reverse, sewing up of craks and tears, patching up holes (torlene threads saturated with Lascaux Acrylemulsion D 498-M; needles and the rest of equipment were surgical); impregnation and disinfection — 2X10% Paraloid B-72 in acetone + 0,3% Raschit (in proportion to the whole solution); removal of the protective layer (Japanese tissue paper pasted with wax) from the surface of the painting; chemical removal of the secondary shellac varnish; smoothing out of the surfaces and local doubling — carrier; synthetic fabric (’’fizelina”), adhesive; Lascaux Acrylkleber 498 HV; facturai application of the putty based on Actylemulsiion D 498-M; vertical and horizontal adjustment of the segments; partial reinforcement; a strip three metre wide below the upper edge of the segments — carrier; glass fabric, adhesive; Acrylkleber 498 HV in a vacuum pocket on a special table (9 m X 3,5 m) at the temperature of 65°C, welding time ca 3 sec per surface unit; reinforcement with the supporting fabric, „Trevira”; suspension of the segments; adjustment of the segments and their permanent integration (into the shape of a circular hyperboloid); reinforcement of the remaining surface in a vertical position — by the analogous method as used in a horizontal position (mobile, suspended setting screens on the facing side); stencilling with acrylic paints made by Lascaux; final varnishing, acrylic — Lascaux Acryltranspaxentlak 575 Matt. When the conservation programme was under preparation it was necessary to resolve the problem of work organisation involving a large team (40 people) which such an unusual work of art required. Good organisation permitted a rapid pace of work whilst its high quality was maintained. At present the conservation work is coming to an end and with very good results, too.

Konserwacja kurdybanów w krakowskim warsztacie Wacława Szymborskiego

86%

Rosa H., Bogacz-Walska M.

Ochrona Zabytków

1996

issue 2

187-193

Wacław Szymborski (1 8 9 8 -1 9 6 8 ) was born in Częstochowa but his whole life was connected with Cracow where he graduated from the Academy of Fine Arts and, already during his studies, began working as a conservator. His greatest accomplishment was the conservation and execution of copies o f the cordwains purchased in Moritzburg for the Wawel Royal Castle. For the purposes o f this task, in which he was involved from 1928 to 1948, Szymborski was compelled to become acquainted with the technique o f the cordwain. He organised a special workshop on Wawel Hill with up to twenty helpers. He also designed and personally made the necessary tools (models and decorations o f the leather). In 1938 and 1939 Szymborski was awarded prizes at international exhibitions held in N ew York and Saloniki. He was also a conservator o f paintings, including the Racławice Panorama (1 9 5 0 -1 9 5 6 ). His other achievements are leather cordwain covering o f his own design for the Madonna chapel in Jasna Gora and a baldachim for the presbitery o f the Warsaw cathedral. The postwar situation in Poland was unfavourable for Szymborski, whose years were connected with dire financial difficulties. From the perspective o f over a quarter o f a century from his death it appears that Szymborski was insufficiently appreciated. Despite the enormity o f his work, the number o f publications and documents about him remains very modest.

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2 Ochrona Zabytków

1 Bogacz-Walska M.

1 Rosa H.

1 Wójtowicz R.

1 1996

1 1984

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Program konserwatorski "Panoramy Racławickiej" i proponowane do jego realizacji materiały

Konserwacja kurdybanów w krakowskim warsztacie Wacława Szymborskiego