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1

Dokumentacja konserwatorska - cele i zadania

100%

Rawa-Szubert A.

Ochrona Zabytków

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1988

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issue 1

42-43

EN

As a collection of detailed information on a specific article, its environment and all work done on it, conservation documentation should be useful to all historians of art and conservators working on such objects. How to prepare conservation documentation so that it could serve this purpose? There is an established pattern of documentation worked out by the. Monuments Documentation Centre and binding upon Polish conservators when drawing documentation. The author discusses this pattern from a viewpoint of its usefulness to conservation practice. Documentation should comprise descriptional and photographic parts. The biggest emphasis in a descriptional part should be paid to technical and technological aspects of the object, identification of materials and laboratory studies, just as when disassembling the textile the conservator has the possibility to examine in detail all nuances that accompanied its creation. This, in turn, is useful in dating and specifying the place of the production of the textile; it is also of importance to a choice of a conservation technique. The description should also include: an identificational description of the article with special attention paid to its colouring, a brief history of the article, its condition and causes of its damaging, conclusions and conservation assumptions as well as a proposed conservation procedure. The author points out the need for a reliable presentation of the course of conservation work. This is of utmost importance to conservators who use documentation. It has been proposed to leave some margin for making notes during periodic checks of the article after completing conservation. Apart from white-black photos a photographic part of the documentation should also include colour photographs, photographs in the scale 1:1 as well as macroor micro-photographs in case of particularly interesting details. Photographs prior to and after conservation should be taken in exactly the same conditions.

2

Program i problemy dokumentacji konserwatorskiej "Panoramy Racławickiej"

100%

Dąbrowska H.

Ochrona Zabytków

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1984

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issue 4

294-295

EN

The article discusses the graphic and photographic documentation, part of the overall documentation, compiled during the conservation of the Racławice Panorama. It its a continuation to an earlier documentation whiich was made in 1967 while the picture was being preserved. The graphic documentation is made on a drafting film in 4 :20 scale. The drawings show: the state of the canvas as it wias unrolled from cylinders (tears, deterioration of the paintwork etc.), preliminary preservation in 1070—73 and conservation since 1980. The foregoing was presented by means of conventional coloured graphic signs. The photographic documentation depicts consecutive stages of conservation, the degree of damage, the course of conservation and the final state. In view of large size of the canvas, the photographs show mostly fragments which are marked on separate panels to facilitate their identification. The photographic documentation consists of blow-ups measuring 1RX24 cm and will be described according to appropriate instructions. The photogramrnetric pictures of the Panorama segments when suspended are aliso envisaged. A complete graphic and photographic documentation supplemented with description will provide archival and historical evidence to facilitate future conservation.

3

Artystyczna funkcja pracy konserwatora (Artykuł dyskusyjny)

88%

Furdyna J.

Ochrona Zabytków

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1970

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issue 4

243-249

EN

To throw the light on some doubtful problems connected with the work of a conservator acting as an artist was the author’s intention in preparing of his article. For his considerations were taken into account both the art of the past and that modern seen from the point of view of their social function with regard to actual cultural requirements and basing on elements of the art and artistic production theory. Going on an assumption that the monuments of art affected by the action of time and under influence of local conditions are subjected to constant changes and destruction it may be generally stated that the scope of conservation in equal measures consists in protection and preservation of both the documentary and artistic values present in the works but also in the aesthetical and artistical preparation and arranging of the objects subjected to conservation for utilitarian purposes. As has already many times been emphasized in his theoretical publications and practically applied solutions by the late Professor J. E. Dutkiewicz the conservation so meant may, and in several cases should display an artistically active and creatively orientated attitude. As an obligatory rule in conservation should be accepted the striving to get the most precisely defined truth about the work of art — comprising the historical, material, content, and artistic truth in the object by itse lf representing an authentic record of the time, style, place and ideology. In his efforts aimed at the practical defining the precise truth about the work the conservator as an executor should possess a good deal of manual abilities and also be conscious in his choice of technological methods and possibilities of historical and style argumentation. As the manual abilities of a conservator are to be understood both the skill and artistry able to subordinate his activities to the final, purely artistic result. The problem, however, does not merely consist in the active apprehension of conservation as an one of artistic disciplines. A considerable number of works of art has come up to our days in fragmentary forms. In the proper elaboration, arrangement and organisation on a wall, within an interior, in a sculpture or picture of authentic elements are to be sought the possibilities and in some cases even the artistic and utilitarian sense of the conservator’s action. Since the conditionings of an existence are not only contemporary but also historical ones, in his search for authenticity in works which frequently enough is not linked with a single author or even the single historical period he must form these works purposefully, by his creative will, at the same time furnishing them with a documentary force and binding them with the context of the local artistic realities. A purposeful arrangement of an ancient work of art in a neighbourhood of modern elements or with a linkage to the new social, ideological, educational or utilitarian functions frequently results in a quite unexpected, artistically modern expression. And also in this respect it may be considered as the creative act from the other artistic disciplines differing only by its kind and „taste” of engagement. The conservator’s ex e cu tion in Poland, repudiating the formerly observed rules of the style purity, the ignoring of the cultural context of the work, the belief that the work of art represents a pure product of an artistic concept as such deserving the extension of its life, is rising nowadays to the level of an authentic artistical discpline with its strictly determined and unique, own peculiarities. As the expression of such approach to this profession may be considered the fact that those w illing to act as conservators are being trained mainly at the Academies of Fine Arts and within the final period of their studies specialising in their respective lines of the future activities. At the end of his article the author makes an attempt to determine the terms — fine arts and beautiful arts, relating them to the specialised section of the Union of Polish Artists which, according to its statuary outlines, is being understood as a kind of professional community. Within this community there is a place for different artistical orientations, including the s.c. applied art, to which the conservation is closely related being today lastingly connected with the programme of building the culture of the nation who has suffered such immense losses in her history.

4

Organizacja służb inwestycyjnych dla prac konserwatorsko-budowlanych w Polsce

75%

Polak T.

Ochrona Zabytków

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1976

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issue 1

9-17

EN

The author of the article presents the development of organization of investment services for remedial and building works. Then he proceeds to describe the present situation in this field and postulates changes for the future. In 1945 the main difficulty lay in the problem of p re paration of working plans concering conservation; it also consisted in the impossibility to find an executor. At that time the re existed and functioned offices of provincial conservators of monuments. They were however, unprepared to fulfill the duties. In these circumstances, the institutions that managed works connected with removal of war damage (such as Bureau for Rebuilding of the Capital, Direction of Restoration in Gdańsk, Szczecin and Wrocław) became investors. This for first time in the history of Polish preservation of monuments historical objects were included in national investment plans. In 1958 provincional restorers of monuments took over the investor’s duties. They organized gangs to perform conservation works. In order to lighten the task of conservation service, plenipotentiaries of the minister of culture and art were appointed. Their job was to deal with such problems as preparation of capital expenditure for remedial works (e.g. in Nieborów and Krasiczyn). However, no specialistic investment service to help provincial conservators has been brought into being until now; this always delayed-conservation works. The author also reminds th a t Administration of Investments of Warsaw Monuments, which was active in Warsaw from 1955 till 1968, conducted the remedial works in Wilanów, Łazienki, the Old Town and Radziejowice. The institution performed its duties very well and th a t is why its activity was highly appreciated. In 1968 it was transformed into Administration of Investments of Culture Objects and in 1971 — incorporated in the State Enterprise Studios of Monument Conservation. In those years investment services arose in various towns, e.g. in Zamość where over 300 million zlotis have been allocated to renovation of monuments in recent years. Accomplishment of works encountered to the absence of both any qualified conservation service and any investor. After numerous attempts had been made to overcome this situation Direction of Restoration of Monumental Complex in Zamość was called into being in 1973 to organize the process of investment and conduct all the conservation works. It .is th e first independent investment institution for a municipial complex of monuments in Poland. Its activities are divided into two stages aiming at complete restoration of the town. According to the author organizational operations in the field of monuments preservation should be considered as a specialistic sphere of conservation activities. Investment bodies for conservation — building works ought to be called into beining under the care of provincial conservators of monuments. The author also postulates reactivation of Administration of Investments of Historical Objects as an instotution central to the investment service of historical objects. It would control and coordinate activities of an the investments bodies th a t function within conservation services.

5

Dokumentacja konserwatorska prac prowadzonych przez Pracownię Konserwacji Dzieł Sztuki PKZ

75%

Krakowska-Pilch E.

Ochrona Zabytków

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1987

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issue 1-2

137-140

EN

In December 1972 the Workshop for the Conservation of Works of Art was brought to life in a newly created branch office of the Atelier for the Conservation of Cultural Property, called the Main Office fo r the Reconstruction of the Royal Castle. Its task was the conservation of preserved elements of original decorations and the reconstruction of the interiors of 17 historic rooms. To this aim specialized teams were formed such as conservators of works of art, modellers, wood carvers and gilders. All, the preserved e le ments of the decor of the interiors, coming to ca 2,000 details, were passed by the National Museum in Warsaw to this Workshop as the main constructor. A wide variety of types of work, the number of o rigina l stucco, wood-carving and carpenter's elements which were to return to their original place required a specific a p proach to the entire problem as well as the drawing of a new model of conservation documentation. Because of the fact that each room represents a compact and homogenous set of decoration, it was decided to work out comprehensive documentation for indiv id u a l rooms. One set of the documentation contained information on the course of all works carried out by the Workshop fo r the Conservation of Works of Art. Treating the decor of the interior as one structure the information included contained data concerning authors, time and execution, authors of the reconstruction design, number of design documentation, general dimensions of the interior, its iconographie description and a short historic outline prepared by the Scientific and H i storic Documentation Department of the Castle’s branch office. Other data concerning technological construction, condition, causes of decay, programme and course of decay, programme and course of work were particularly expanded and they comprised all elements of the decor. The described details were presented in a uniform order: ceiling decorations, bed-moulding and cornices, wall decorations, wood-work. A uniform arrangement was also adopted in presenting the work done: conservation of preserved elements of stucco work, models of architectonic decorations, model of sculptor's decorations, conservation of original ele ments of wood carving, models for decorations in wood, reconstruction of elements carved in wood, conservation of old carpentry elements. The course of the works was w e ll- illu s tra te d with photographs showing the condition of de tails prior to, during and a fter conservation, models made, reconstructed wood-carved elements, gildings. Each documentation was provided with a location plan — projection of the 1st flo o r of the Royal Castle, pointing out the object discussed as well as a choice of the reproductions of archival photos. Attached were also photographs of the interiors th a t depicted the condition a fter reconstruction. Pictures of walls and projection of the ceiling, put on micro- filmed d ra ft drawings, show g raphically and descriptively the location of in -b u ilt original details of the decor. Copies of commissional agreements on idividual conservation and reconstruction problems, results of laboratory studies as well as extracts from the minutes of the meeting of the A rchitectonic and Conservation Commission on the agreements and the acceptance of individual stages of work as well a" the entire interiors have been added as enclosures. Documentation includes also conservation drawings in the scale of 1:1, 1:2 and 1:5 of o rigina lly preserved elements of the decor, depicting the condition, conservation and reconstruction work. Altogether 32 sets of conservation documents have been prepared, compiled into one volume, just as is the case with "O ffice rs ' Room" or eleven volumes in the case of "The Throne Room” or "The Room of the Knights". Individual documentations have 10 to 80 pages and 2 to 200 photographs. In order to accelerate the rate of work the team of reg istrars was assigned the task of a coordinator of the entire work carried out in the Workshop, inc lu d in g : — the analysis of the condition of the preserved rescued d e tails ; transportation from the place of storing and to ensure proper climatic conditions; — id e n tifica tio n and location of the elements based on the analysis of the available iconographie material, — preparing the lists (with regard to the quantity and q u ality) of missing element , — transfer of all material to idividual teams of specialists, — reg u la r supervision of the work done, — carrying out a descriptional and functional registration of successive stages of work and location of original elements, — preparing conservation documentation. The scale of the problem can be illustrated by the following d a ta : altogether 1,988 details of the decor of the interior of the Royal Castle were covered by conservation. Out of this number, 1,048 details were identified and situationed. 988 of them, corresponding to the adopted architectonic and conservation concept, were b u ilt into the present in teriors. The remaining elements coming from unaccentuated stages of reconstruction of interiors were given back to the management of the Royal Castle in Warsaw.

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5 Ochrona Zabytków

1 Dąbrowska H.

1 Furdyna J.

1 Krakowska-Pilch E.

1 Polak T.

1 Rawa-Szubert A.

1 1988

1 1987

1 1984

1 1976

1 1970

Dokumentacja konserwatorska - cele i zadania

Program i problemy dokumentacji konserwatorskiej "Panoramy Racławickiej"

Artystyczna funkcja pracy konserwatora (Artykuł dyskusyjny)

Organizacja służb inwestycyjnych dla prac konserwatorsko-budowlanych w Polsce

Dokumentacja konserwatorska prac prowadzonych przez Pracownię Konserwacji Dzieł Sztuki PKZ