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Dawne metody i środki chemiczne stosowane przy konserwacji malarstwa sztalugowego

100%

Ślesiński W.

Ochrona Zabytków

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1984

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issue 1

25-27

EN

The aim of the article is to show a developmental line in the conservation of easel paintings derived from craftsmanship through the conservation art to conservation as a branch of science. The answer to the question what methods and what chemical agents were used in the past iis difficult. This difficulty is, in the first place, the result of a small number of source materials that are in our posession. The course of repairs and renewals of such financially and factually insignificant objects as easel paintings was never recorded At the same time the maintenance of professional secrets for a long time still intensified this difficulty. Despite difficulties just mentioned studies on the history of conservation .are continued and ascertain us that without theoretical and practical achievements of our forerunners present attainments of the conservation of works of art would not have been possible.

2

Krótki zarys dziejów Wydziału Konserwacji Dzieł Sztuki Akademii Sztuk Pięknych w Krakowie (1950-1990)

100%

Dayczak-Domanasiewicz M.

Ochrona Zabytków

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1990

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issue 4

174-189

EN

The Cracow centre of higher education in the field of conservation of works of art is one of the three that have come into being in Poland after World War II, apart from the department of this field at the Academy of Fine Arts in Warsaw and the Institute of Historical Monuments and Conservation at the Nicolaus Copernicus University in Toruń. It is true that it has existed for 40 years, but its conservation thinking is much older, being present in other forms in the past of the Cracow Academy in the 19th cent, and the first half of the 20th cent. This is testified by the sporadic attempts to teach conservation (particularly in the field of. painting) undertaken in the 19th cent, and the organized form of study of painting techniques in the period of 20 years between the two world wars, thanks to the efforts of Prof. J. Hopliński, one of the later creators of the post-war Department of Conservation. Another illustration of the presence of conservation thought in the post-war tradition of the Cracow Academy is in the interesting results of teaching in the field of conservation of architecture at a time when two professors of architecture, Jozef Gałęzowski and Adolf Szyszko-Bohusz, were rectors. The joint achievement of architects and painters at that time was the restoration of the interior of the Royal Castle at Wawel, carried out under Prof. Szyszko-Bohusz The Department of Conservation of Works of Art was established in 1950 as a result of the merging of two of Cracow’s higher artistic schools: the Higher School of Fine Arts (WSSP) and the older Academy of Fine Arts that had traditions from the pre-partition times still. This unit was faced with the difficult task of working out the program outline for the artistic-scientific discipline newly forming in Poland.which conservation of works of art was at the time. Until then, achievements in this field in Poland had been sporadic, most often amateur and did not present any continuity of the didactic program on the national scale. The first organizers and creators of the Cracow Department of Conservation of Works of Art were already deceased professors of both combined higher schools of Cracow. In the majority, these were teachers from WSSP such as: Jozef Edward Dutkiewicz, PhD, Stanisław Jakubowski, Marian Słonecki, Wiesław Zarzycki, Władysław Cholewiński and from the Academy of Fine Arts — Jan Hopliński. However, the main creator of the Department's concept was the art historian, painter and conservator of paintings (mostly mural) — Jozef E. Dutkiewicz. The department trained students in two basic specializations: conservation of paintings and the conservation of sculpture, with a domination of paintings, and also in the field of painting techniques and technologies. For some time, also, there was a separate specialization in the conservation of graphic art, paper and books in the beginning (until 1961 ). However, this was closed down due to the shortages of space and faculty members. The didactic work of the 1950'e, determined by the situation of the country's material heritage at the time, concentrated mainly on problems connected with rescue work and documentation. However, with developing organization and with the progress of conservation knowledge, the program tasks were successively enriched with the analytical-research aspect. These new tendencies were manifested in the field of technical analysis of the material structure of a work of art, as well as in the development of the cognitive sphere in its artistic from and content. This maintenance of equilibrium between both spheres of theoretical research (in the exact and historical sciences) has existed from the beginning and still remains a characteristic feature of the didactic program of the Cracow training centre. In the field of conservation practice on the other hand, established as the basic aim of didactic undertakings, apart from improvements in conservation methodology and technology, particular emphasis has been placed on artistic arrangement for many years. In the mid-1960's, the basic organizational structure of the centre was finally crystallized and fixed, with a division into two institutes of conservation, combining the problems of the nature of the material. The school encompassed: the 1st Institute of Conservation of Wall Paintings and Architectonic Sculpture, the 2nd Institute of Conservation of Easel Paintings and Wood Polychrome Sculpture and the 3rd Institute of Technology and Painting Techniques (which from 1978 has broadened its didactic program to include the problems of sculpture). In 1972, the original from of the Department of Conservation of Works of Art was restored, with a simultaneous passing over to the system of a full five-year of study at the Academy. An expression of the Department's efforts towards total autonomy in the structure of the Academy was the establishment in 1975 of the 4th Institute of General art (drawing, painting and sculpture), headed by docent (assistant professor) Eugeniusz Wańko, and in later years until today — by docent Stanisław Wiśniewski. In both decades, the 1970's and 1980's, a dynamic growth can be observed in all the established lines of training, with particular emphasis placed on the research foundations in the exact sciences, perfected at the Institute of Applied Physics and Chemistry under Maria Ligęza, PhD. This development is accompanied by a vital involvement of the Depafment and its staff in the life of the community and in cooperation with other active circles, e.g. in the campaign of protection of the city's cultural heritage and restoration of its collections. For some time, the model of the Cracow school of conservation of works of art as a didactic centre has been arising interest of the authorities of various art institutions of higher education in western and eastern Europe. The frequent proofs of the competent activity of its graduates on the territory of various countries of Europe and outside of it strengthen its position. In spite of many shortcomings of an organizational and economic nature that hamper the natural development of the conservation centre of the Cracow Academy, this institution, during its forty-year existence has made a serious and significant contribution to the rescue and multiplication through discoveries of the Polish cultural heritage mainly in the field of historical paintings and sculpture. During the four decades, the Cracow school of conservation has managed to create its own style of didactic work, with an open and versatile attitude towards the complex probelm of rescuing historical works of art and restonng their value. I am convinced that the feeling of co-responsibility that the creators and continuators of the Department have had from the beginning for the fate of the material heritage of Polish culture, so much diminished by historical circumstances, is the foundation for activity that has determined the further development of the Cracow training centre in the field of conservation of works of art.

3

Metoda odwracalnego dublowania obrazów na podobraziu płóciennym przy użyciu kleju Plextol D 360

100%

Mitka A.

Ochrona Zabytków

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1992

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issue 3

196-200

EN

In the method of a reversible relining of paintings on canvas bases, the adhesive is used solely on the relining canvas, and produces a self-adhesive coating. The author applied Plextol D 360 in numerous operations. The effects of research into the effectiveness of relining with the help of Plextol 360 were compared with the usage of other adhesives. The author also conducted a series of tests with other adhesives. Finally, he mentions various examples of employing Plextol D 360 in conservation work. (translated by A. Rodzińska-Chojnowska)

4

Zmienne oblicza zabytków. Z perspektywy historii i problemów konserwatorskich

100%

Gałaszek 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

184-210

PL

W artykule przedstawiono kilka przykładów zmiany wyglądu (oblicza) zabytkowych dzieł z różnych dziedzin sztuki, między innymi opisane zostały zmiany dokonane w późnogotyckich malowidłach z około 1510 roku w kościołach parafialnych w Starej Wsi – obraz z przedstawieniem tzw. Sacra Conversazione oraz wizerunkiem Madonny z Dzieciątkiem w Krzyżowicach. Usiłowano także przedstawić przyczyny przeprowadzania tak radykalnych zmian wyglądu dzieła spowodowanych wolą ówczesnych decydentów. Wygląd tych dzieł, utrwalony został w odbiorze wiernych przez wiele lat, może nawet u kilku pokoleń. Większość wiernych jest przekonana, że to dzieło wyglądało tak „od zawsze”, dlatego jego nagła zmiana, mimo że odsłonięty jest pierwszy wizerunek – z czasu jego powstania, to nie zawsze jest on przychylnie przyjmowany. W artykule przedstawiono także dwa przykłady tzw. małej architektury, gdzie obok zmiany wyglądu obiektu nastąpiły, może bardziej niż wygląd, zmiany ich wymowy ideowej, często z wykorzystaniem przeciwstawnych sobie symboli. Są to pomniki – na rynku w Pszczynie, który od monumentu poświęconego poległym podczas wojny prusko-francuskiej żołnierzom niemieckim, z biegiem lat i zmieniającej się sytuacji politycznej, upamiętniał wizyty cesarzy niemieckich, potem Marszałka Józefa Piłsudskiego, w czasie drugiej wojny światowej Adolfa Hitlera, po 1945 roku rozebrany, aby po wielu kolejnych latach, po umieszczeniu gwiazdy na szczycie (gwiazda ta w ostatnich latach została zastąpiona polskim krzyżem wojskowym, którego obecność wzbudza dzisiaj kolejne kontrowersje), stać się głównym pomnikiem na cmentarzu żołnierzy Armii Czerwonej. Drugi przykład to zmian dokonywanych w monumencie znanym obecnie jako Pomnik Czynu Powstańczego na Górze św. Anny. Pomnik ten upamiętniał „obrońców niemczyzny” na Górnym Śląsku, dzisiaj poświęcony jest chwale powstańców śląskich, czyli przeciwnikom tych, którym pierwotnie został poświęcony.

EN

The article discusses several examples of changes in appearance of historical works from various fields of art, including changes made to the late Gothic paintings from approx. 1510 found in parish churches in Stara Wieś – the painting representing the so-called Sacra Conversazione and the image of the Madonna and Child in Krzyżowice. Furthermore, the author of the paper attempts to present the reasons for conducting such radical changes in the appearance of the works due to the will of the former policy makers. Appearance of these works was recorded in the reception of the faithful for many years, perhaps even for several generations. Most faithfuls are convinced that this work looked this ways for years. Therefore, its sudden change, even though the newly exposed image is the first, original one, is not always favorably received. The article also shows two examples of the so-called small architecture, which in addition to transformation in the appearance of the object underwent changes of ideological character, often concerning the use of opposing symbols. The discussed object are monuments. The first one, located on the square market in Pszczyna, was originally a monument dedicated to German soldiers who died during the Franco-Prussian War. However, over the years along with the changing political situation the monument started to commemorate the visit of German emperors, then Marshal Józef Pilsudski, and during the Second World War – Adolf Hitler. After 1945 it was demolished and after many consecutive years of placing the star at the top (the star in recent years has been replaced by Polish military cross, whose presence even today evokes further controversies), has become the main monument in the cemetery of soldiers of the Red Army. The second example discussed in the article concerns the changes made to the monument now known as Pomnik Czynu Powstańczego (Monument of Insurrection) set on the St. Anne Mountain. Erected to commemorate the “defenders of German values” in Upper Silesia, today the monument is dedicated to the glory of the Silesian insurgents, the opponents of those to whom it was originally dedicated.

5

Spotkania w Osiekach – Sztuka, Dokumentacja i Refleksje Po Latach

67%

Kowalska E., Orłowska W.

Sztuka i Dokumentacja

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2018

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issue 18

133-141

PL

Międzynarodowe Spotkania Artystów, Naukowców i Teoretyków Sztuki organizowane były w Osiekach koło Koszalina w latach 1963-1981. Pozostawiły one swój ślad, w taki czy inny sposób, w wielu ważnych zjawiskach polskiej sztuki XX wieku. Pierwsze Międzynarodowe Studium Koszalińskiego Pleneru zorganizowane we wrześniu 1963 roku przez Mariana Bogusza z Warszawy i Jerzego Fedorowicza z Koszalina było pierwszym artystycznym plenerem w nowoczesnym tego słowa znaczeniu, które odbyło się w Polsce po II wojnie światowej. Dzieła przekazane przez artystów biorących udział w kolejnych edycjach Osiek zostały przeznaczone do kolekcji sztuki nowoczesnej w Muzeum w Koszalinie. Jej zaczątkiem był w 1963 roku dar samego Mariana Bogusza (obejmujący prace z Galerii Krzywe Koło). Zgodnie z założeniami inicjatorów plenerów w Osiekach prace te miały stać się zaczątkiem przyszłego Muzeum Sztuki Nowoczesnej w Koszalinie. Dary przechowywane obecnie w Dziale Sztuki Nowoczesnej Muzeum w Koszalinie to ponad 500 dzieł, wzbogaconych o archiwum dokumentujące plenery. Niewątpliwie zasługują one na miejsce wśród najcenniejszych zbiorów sztuki XX wieku. W ramach tej kolekcji sztuka i dokumentacja pokrywają się i wzajemnie uzupełniają, dając unikalny wgląd nie tylko w polską sztukę, ale także w polską krytykę artystyczną i teorię sztuki w latach 1963-1981.

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3 Ochrona Zabytków

1 Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

1 Sztuka i Dokumentacja

1 Dayczak-Domanasiewicz M.

1 Gałaszek J.

1 Kowalska E.

1 Mitka A.

1 Orłowska W.

1 Ślesiński W.

1 2018

1 2016

1 1992

1 1990

1 1984

Dawne metody i środki chemiczne stosowane przy konserwacji malarstwa sztalugowego

Krótki zarys dziejów Wydziału Konserwacji Dzieł Sztuki Akademii Sztuk Pięknych w Krakowie (1950-1990)

Metoda odwracalnego dublowania obrazów na podobraziu płóciennym przy użyciu kleju Plextol D 360

Zmienne oblicza zabytków. Z perspektywy historii i problemów konserwatorskich

Spotkania w Osiekach – Sztuka, Dokumentacja i Refleksje Po Latach