Search results

1

Konserwacja obrazu "Madonna z Dzieciątkiem i szczygiełkiem"

100%

Kostecki G.

Ochrona Zabytków

|

1992

|

issue 3

192-196

EN

The Virgin and Child with a Goldfinch" (107,2x77,2 cm) is a tempera painting on a wooden panel, and constitutes part of the private collection of the Popiel family. Serious damage to the painting and its exceptional historical value decided about its conservation (as part of a diploma work, 1985-1986) which consisted of deciphering the technology and technique, the disclosure of the original layers and the restitution of the aesthetic merits of a selected fragment. Through observation and laboratory and comparative research it was made possible to establish the structure of the object and the subsequently introduced changes and deformations. The conservation work included the removal of secondary layers, the stabilization and consolidation of the wooden base (panel), the replenishment of losses and a graphic attempt at reconstrucing the original appearance and shape of the painting. As a result of the executed work, I disclosed and completely protected the original layers of the object, enabling to determine the origin and authorship of the heretofore unknow painting, and made it possible to confront it with Cennini's textbook. The author of „The Virgin and Child with a Goldfinch" is with all certainty Francesco d'Antonio Zacchi, know as Balletta, a painter from Viterbo, and it was executed during the early stage of his career, in about 1430-1440. (translated by A. Rodzińska-Chojnowska)

2

Odkrywanie tajemnic warsztatowych dawnego malarstwa na przykładzie badań analitycznych obrazu Matki Boskiej Zwycięskiej z Mariampola nad Dniestrem

88%

Krupska A.

Ochrona Zabytków

|

2000

|

issue 3

320-324

EN

New analytical methods, especially in the field of physics and chemistry, can be applied successfully for the needs of the conservation of artworks. Neutron autoradiography, spectral emission analysis or gas chromatography, combined with mass spectrometry (GC-MS), proved to be very useful in examining the structure of paintings. Yet another interesting issue are the new methods of studying the binder of the painted stratum and the priming ground. The identification of the binders is essential, since it is precisely they which are decisive for the painting technique and exert an impact on the manner of painting, the plastic expression of the entire work and often its state of preservation. Their identification is of great help while making decisions concerning conservation. The conservation of the Victorious Madonna from Mariampol — Bolognese school from the sixteenth /seventeenth century — entailed the use of gas chromatography with gas spectrometry (GC-MS) — the first such occasion in Poland. The results of the identification of the binders, illustrated on an enclosed map, proved to be very interesting and highly untypical. The emulsion is composed of a wheat germ and nut oil mixture. The filling is chalk with a small addition of plaster, lead white, and orange and yellow iron compounds. The variety of the binders is the consequence of an evolutionary transformation of tempera painting into oil painting. The untypical binder of the priming ground comprises probably the legacy of old traditions adapted from Oriental art, that could have been cultivated in particular painting studios associated with Venice, which in its past had close contacts with Byzantium. This was the type of binder used by artists in Greece, Serbia and Russia. The presented sketch draws attention to the role of the new analysis, especially the GC-MS techniques, which guarantee great precision of the obtained results, at the same time compelling the conservators-researchers to continue expanding their technological knowledge.

3

Matka Boska Zwycięska z Mariampola nad Dniestrem w kościele NMP na Piasku we Wrocławiu

88%

Krupska A.

Ochrona Zabytków

|

2000

|

issue 2

117-133

EN

Tradition associated this canvas with Hetman Stanisław Jan Jabłonowski (1634-1702) for whom it fulfilled the function of a field painting. Conservation provided an opportunity for a number of analyses making it possible to examine the technical-technological construction of the work, to establish the stratigraphy of the painted layer of assorted fragments of the composition, and to determine the pigments and bindings. In turn, a visual analysis of the original enabled the recreation of the manner in which particular parts were executed. These data proved to be of great help for preparing a copy, which the author of this article completed in 1997-1998, and which was to replace the original for daily display. An attempted comparative analysis from the domain of the history of art was expanded by technical-technological problems, without which the establishment of the time and range in which the painting in question originated would have posed a much more difficult task. The entire composition is covered by a thick layer of overpainting, deforming the original character of the depiction, and making impossible its artistic-stylistic assessment. Only photographs taken with X-rays registered the distinct shape of the original composition, which, unfortunately, is to a considerable extent damaged. Nonetheless, the most important parts, such as the faces of the Virgin and the Child, are preserved quite well. The actual state of the preservation could be estimated only after the removal of the overpainting, the duplication and the old putties. The number of gaps in the painted layer was put at 30%, and the number of holes in the original canvas exceeded 136. The localisation of some of them testifies to the fact that they were caused by the sharp edges of a silver dress placed upon the painting during the eighteenth century, which touched the surface of the painting. In the course of conservation the removal of overpainting and putties was followed by the removal of duplication. Gaps in the original canvas were cleaned of the remnants of the duplication mass and covered with cloth patches. In the next stage, the gaps were supplemented by putty produced by Clam-Brummner in a colour slightly darker than the original. The surface of the putties was polished mechanically and the painting was stretched on a new pine frame. The surface of the composition was covered with dammar varnish upon the base of turpentine oil — the ratio of resin to solvent was 1:4. The pointing was executed with Rembrandt-Tralens, Winsor & Newton, and Lefranc-Bourgeois oil paints. Owing to the stylistic character of the composition and its cult rank it was decided to conduct the retouching and reconstruction of larger fragments by means of an integration-imitation method, making it possible to gain the impression of a uniform work. After the completion of the reconstruction, the composition was covered once again by dammar varnish. Upon the basis of archival material and literature gathered by the author we should not exclude the possibility that this particular canvas was actually the property of Hetman Stanisław Jan Jabłonowski. From the eighteenth century the painting was adored and regarded as miraculous. It was featured in Mariampol up to 1945, when the Polish population of the Eastern Borderlands was forcefully resettled to the Western Territories. Since 1965 the canvas is displayed in the church of the Holy Virgin Mary in Wroclaw. The cult surrounding the object remains lively, as evidenced by its coronation with papal crowns in 1989. The stylistic features of the canvas indicate Bolognese painting from the second half of the sixteenth century, which flourished in the Carracci Academy. The technical-technological character of the object also appears to confirm this assumption.

4

Problem uzupełnień ubytków w cienkiej warstwie malarskiej na przykładzie obrazu "Matka Boska Gidelska"

88%

Rachuta K.

Ochrona Zabytków

|

1990

|

issue 3

149-152

EN

The painting Our Lady of Gidle is a mass-produced devotional painting. The painting technique was very simplified. After painting a series of paintings, the many-metre, usually very thin canvas was cut up, separating the individual compositions. The limpness of the base, the thin paint layer and the type of damages these paintings were in danger of, does not makt it possible to use the stereotype measures. The painting Our Lady of Gidle was created in the 19th cent, in the Częstochowa-Gidle workshops. It draws on the legend about finding the miraculous figure of Our Lady in a field. The painting handed over for conservation was in a very bad state: weakened canvas, no adherence to the base and flaking of the paint layer, numerous paint losses, bends etc. The measures began with straightening out the canvas and gluing under the paint layer. Then the paint layer was cleaned, the tears were glued up and patches were glued on. Next, the paint layer losses were supplemented. On a vacuum table, at a temperature of ab. 65°C, the painting was laminated with Beva 371 applied to silicone foil. After these steps, the limp under-painting was strengthened and the painting was additionally doubled by a thin canvas. For straightening and doubling, the paintina was soread out on a loom (even though it had not been spread out until that time). The conservation ended with pointing.

5

Konserwacja "Panoramy Racławickiej" i jej problemy

75%

Wójtowicz R.

Ochrona Zabytków

|

1983

|

issue 1-2

43-54

EN

In July 1981 a Wrocław branch office of the Monuments Conservation Workshop brought to life a conservation workshop whose main task was to restore ’’The Panorama of Racławice”, one of the biggest Polish paintings (ca 120 m X 15 m). „The Panorama of Racławice” was painted in Lvov in 1892— 1894 by a team of painters under the direction o f Wojciech Kossak and Jan Styka. The painting depicts a victorious battle o f the Polish army commanded by Tadeusz Kościuszko, fought against a detachment of Russian General Alexander Torasov near Racławice on 4th April 1794. A complex history of the painting brought about its vast destruction. ’’The Panorama” was subjected to frequent conservation and protective operations. In 1927 in Lvov after coming off o f the canvas, the preservation works were carried out by Z. Rozwadowski, M. Harasimowicz, W. Kossak and J. Sty - k a ’s sons. In 1944 two bombs fe ll down on ’’The Panorama”. In 1949 and 1950, W. Szymborski undertook conservation works and after a six-year break (1956— 1958) ihe continued them. In 1957 E. and M. Dzieikoński won the competition for a project o f a display pavilion. In 1970— 1973 conservation works were carried out by a team o f 'Conservators headed by M. Baranowski. The plan was to ply-up the painting on wax and resin mass. The operation was never done. In th e light of modern conservation methods this kind o f procedure could bring about irreversible changes in the painting due to both a technique and agents. In 1980 the Social Committee for ’’The Panorama of Racławice” headed by A. Jaihn was created and it is still operating. The Committee initiated conservation of the .painting. The post o f the Conservator General was assumed by S. Filipiak. After a technological e x a mination and 'discussions held at the meetings o f the Commission for Conservation Surveillance a programme for conservation works was agreed. The conservators gave up th e initial idea (Art Academy in Cracow) of plying-up th e painting on a rigid base and refrained from using BEVA-Z-15 glue developed by G. A. Berger. The shrinking of glue during a ply ing -up process results in an extensive undulation of the original canvas. Following a series of the studies made, the Conservation Workshop demonstrated th a t 'the best adhesive for plying-up would be Acrylkleber 498 Hv by Lascaux (Switzerland). The adhesive w ill be put twice on a glass c lo th (plying-up) and after vaporization, the two canvases w ill be stioked together. A short time of treatment (1 second), temp. 60°C and low pressure guarantee the safety o f th is conservation procedure. In addition to this, the whole o f it w ill be coated with 10 per cent solution of Paraloid B-72 in acetone. During the process of plying-up the equipment emitting warm air at definite temperature and pressure w ill be installed. Set electromagnetic frames w ill be used to stiffen plied-up parts. It is also planned to add a fire- -proteGting ag ent to a plying-up adhesive. The painting will be hung on a special rail system. It allows to move gores onto any place o f the rotunda and to arrange them in a straight line. It w ill also be possible to control a vertical suspension o f the canvases. During conservation the following operations w ill be carried out: cleaning of the reverse from dirt and secondary adhesives (Kleaister, wax), seaming and darning of damaged parts of the canvas (only in the canvas structure but unimpairing a painting layer), impregnation of the reverse with 2X10 per cent solution of Paraloid B-72 in acetone, disinfection w ith 0.3 per cent acetone solution of p -сhloro-m-oresol, chemical removal of protections — Japanese paper and w a x paste, removal o f secondary varnish, repaintings and old putties, impregnation o f the facing with 5 per cent Paraloid B-72 in acetone, straightening of canvas d e fo r mation, sticking o f fine thin 'doth on the reverse w ith 15 per cent solution of Paraloid B-72 in acetone

6

Konserwacja obrazu "Matki Boskiej Pocieszenia" z kościoła św. Benedykta w Krakowie

75%

Dobek J.

Ochrona Zabytków

|

1990

|

issue 3

142-146

EN

In December 1987, the Ateliers for the Conservation of Works of Art of the Cracow Division of the Ateliers for Conservation of Cultural Property carried out conservation measures of the side altar together with the painting of Our Lady with Child — from the Church of St. Benedict at Krzemionki. This painting — measuring 116,5 x 74 cm — probably comes from the turn of the 18th and 19th cent. It is made of a pressed paper-chalk-glue mass, with paper coated with chalk-glue grout pressed on the face side. It is painted in two techniques — tempera and oil, with glaze gold and silver plating. The state of the painting at the moment of its acceptance to the Workshop showed considerable damages caused by high humidity of the church interior, the destructive effect of microorganisms, mechanical damage and inappropriately executed renovations. The paper-chalk-glue mass was cracked. On the face of the painting there were vast spots, stains, soiled and torn parts. On account of the scarcity of structures of this type, it was decided that the painting should undergo complex conservation. Due to the high degree of destruction of the initial layer, it was proposed that conservation be carried out of the second chronological layer, with the unveiling of the original layer of the colour and the creation of an uncovered patch measuring 10 x 15 cm on the coat of the Madonna at the right lower edge of the painting. Plans called for the removal of the canvas from the reverse, pressing the painting, doubling the reverse with fliseline and transferring the work on to a stiff base. There were also plans for retouching the losses of the paint layer and gold plating by appropriate techniques. All the planned undertakings have been carried out with the use of accessible products.

7

Konserwacja obrazu "Pożar Lublina"

63%

Orthwein M., Gawarecki H.

Ochrona Zabytków

|

1954

|

issue 3

200-207

Refine search results

7 Ochrona Zabytków

2 Krupska A.

1 Dobek J.

1 Gawarecki H.

1 Kostecki G.

1 Orthwein M.

1 Rachuta K.

1 Wójtowicz R.

2 2000

1 1992

2 1990

1 1983

1 1954

Konserwacja obrazu "Madonna z Dzieciątkiem i szczygiełkiem"

Odkrywanie tajemnic warsztatowych dawnego malarstwa na przykładzie badań analitycznych obrazu Matki Boskiej Zwycięskiej z Mariampola nad Dniestrem

Matka Boska Zwycięska z Mariampola nad Dniestrem w kościele NMP na Piasku we Wrocławiu

Problem uzupełnień ubytków w cienkiej warstwie malarskiej na przykładzie obrazu "Matka Boska Gidelska"

Konserwacja "Panoramy Racławickiej" i jej problemy

Konserwacja obrazu "Matki Boskiej Pocieszenia" z kościoła św. Benedykta w Krakowie

Konserwacja obrazu "Pożar Lublina"