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1
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Zakres diagnostyki w konserwacji malarstwa ściennego

100%
Mazur A.
Ochrona Zabytków
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1997
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issue 3
256-257
EN
The author draws attention to the particular significance of a thorough distinction of factors shaping the conditions that influence murals, prior to the setting up of conservation programmes concerning historical objects. Mentions is made of the necessity for extensive control of buildings decorated with polychromy, and their surrounding. The article places emphasis on the importance for the durability of the object of the awareness on the part of its administrators of the consequences of planned repair and installation undertakings. This pertains especially to control of the existing and newly introduced heating, sewage, thermal insulation, anti-dampness and drying systems as well as others, which exert a long range impact upon changes in the conditions of the surrounding of murals. The attention of conservators should be also attracted to all preparations introduced in the course of conservation and repair into brick constructions and wooden elements of edifices, as well as their subsequent assessment from the point of view of future effects for the polychromy. This task belongs to the duties of conservators of murals to a degree much larger than in cases of transferable objects. Finally, the author stresses the importance of those factors in the training of conservators since a superficial approach renders the effects of conservation short-term.
2
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"Sąd Ostateczny" - fresk z kaplicy rodziny von Restisów w farze wrocławskiej

100%
Żelbromski J.
Ochrona Zabytków
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1994
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issue 2
215-217
EN
A fresco depicting „The Final Judgement” was discovered in 1982 during research conducted in the interior of the St. Elisabeth church in Wrocław. The painting was executed in 1456-1458 by Master Piotr. In the seventeenth century it was destroyed during the rebuilding of the chapel which accompanied the enlargement of the library. The discovery of fragments of the fresco makes it possible to evaluate the merits of the work and, in the opinion of the author, to propose a hypothesis that Master Piotr was also the author of works which up to now have been regarded as anonymous: the „Madonna in a Chamber” or „Veraicon” in the St. Barbara church in Wrocław.
3
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"Reclams Handbuch der künstlerischen Techniken", Band. 2: "Wandmalerei, Mosaik", Albert Knoepfli, Oskar Emmenegger, Mangred Koller, André Meyer, 1990 : [recenzja]

100%
Ślesiński W.
Ochrona Zabytków
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1992
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issue 1-2
119
4
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Technika ściennych malowideł bizantyjsko-ruskich. Część I - Przyrządzanie ciasta wapiennego i zaprawy oraz wykonywanie narzutów

75%
Stawicki S.
Ochrona Zabytków
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1970
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issue 4
267-278
EN
In process of execution of the Byzantine-Ruthenian mural paintings the following three stages should be listed as basic: preparation of the lime putty, that of lime mortar, and the making of topping coats. The importance of all the above stages is being emphasized in all written records that have been preserved up to the present day. In addition to technological investigations the above-mentioned documents form the main source of our knowledge in the field of the painter’s techniques in use many years ago. From among the painter’s handbooks and other documents containing professional prescriptions and recommendations the oldest ones are coming from as late a time as the second half of the 16th century. Here should be named the „Tipik” by Nektariy, dated 1599 and a good deal of Russian manuscripts known under the name of „Podlinniks”. Among the Greek painter’s handbooks as the oldest one may be considered „Hermeneya” written after the year 1566. Quite a good deal of „Podlinniks” could be dated as early back as to the 17th century whereas the „Hermeneya” of Dionysos to the first half of the 18th century. The preparation of lime putty represented rather a complex and sometimes time-consuming procedure. Its main features were the mixing of lime with water, working it with the spade and the cleaning. The „Podlinniks” and particularly the „Tipik” provide a detailed description of methods used for removing of diluted salts (s.c. „emchugha”) from the lime by washing them out. The above washing process was aimed at reducing the content of harmful salts and at the same time at decreasing the binding strength of the future topping coat whicji the process had to some extent prevent its cracking. Among prescriptions included to the „Tipik” may be found an „old masters’ ” prescription that recommends the wintering of lime during the winter period and mixing the organic binders to the lime putty. The mortar was prepared from the lime putty with an admixture of suitable fillers. According to prescriptions under discussion the lime putty was mixed with the cut straw (of corn or grass) but also with tow and allowed a period of a few days for so called fermentation. The mortar of the first type served for preparing the lower while that of the latter type the upper topping coat. It was recommended in „Tipik” to add a proportion of sand to the lower layer. From among the fillers in use on the Ruthenian and Russian territories only the tow may be listed while on the Balkan and the actual territory of Turkey straw was used most commonly, and both the tow and straw in Poland. The sand admixture in varying proportions may be found in all the countries concerned. The topping coats for the Byzantine-Ruthenian paintings have underwent an evolution as result of which the s.c. monoliths containing the marble and limestone breakage and the pottery breakage most commonly used on Ruthenian territories were in time replaced by s.c. spongey plasters where in turn an organic matter was used in form of vegetable fibres. The monolithic plasters were applied in the early Byzantine period (the 8 th to the 11th century) and on the Ruthenian territories (the 10th to the 12th century). The origins of that type of plasters should be sought in Roman tradition. A ll the written sources baing in fact prescriptions of a later date list the s.c. spongey plasters only. At the execution of topping coats a careful attention was devoted to the cleaning of brickworks to be coated with the lime mortar as w e ll as to their suitable damping with water. The topping coats were thoroughly tamped and then carefuly smoothed. It was also recommended by „Tipik” to drive m ils into brickwork and, in full accordance with Cennini’s recommendations, to apply the moisture-resistant insulation where the brickworks were moist. The lime mortar was normally thrown starting from the uppermost left-side wall portions gradually moving down to the right side. The particular portions of the s.c. dayworks as a rule comprised the definite compositions. Both „Tipik” and Hermeneya” recommend the application c f the double-layer plasters the lower layer of which should be thinner while the upper thicker one. However, we know from observations made that the single-layer plasters were applied commonly enough (for example, in Macedonia and Serbia). For the Byzantine-Ruthenian paintings found on Polish territories plasters of both types were used. The thicknesses of plasters varied in different countries mainly depending upon the material used for erection of temples and the wall structure and tex tu re. They were thin on ashlars (ranging to a few m illimetres) and thicker on brickwork walls (1 to 4 cm). In addition to differences present in several types of plasters applied for the Byzantine-Ruthenian paintings quite a remarkable number of features common for both types may be named. Suitable fillers and especially the vegetable fibres furnished the plasters with strength and lasting freshness allowing the easier and longer execution of painting using al fresco technique. It were the plasters then that played decisive part in the choice of manner by means of which were executed mural paintings belonging to the Byzantine- Ruthenian tradition.
5
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The mural paintings of Modest Sosenko. Characteristics of the style based on representative examples

63%
Semchyshyn-Huzner O.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2022
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vol. XV
93-109
EN
In the considerable creative legacy of the Ukrainian artist Modest Sosenko (1875–1920), the murals and sacred easel paintings he created for more than ten Galician churches deserve special attention. His contemporaries noted that the artist’s sacred works were characterised by his own ‘Sosenko style’, which boldly and organically combined Byzantine traditions reinterpreted by 16th– and 17th– century masters with modern European stylistic requirements of the turn of the 19th and 20th centuries. He was a pioneer who paved the way for the development of modern church art, which was helped by the circumstances of his life. After acquiring a thorough European professional education during his studies in Kraków as well as in Munich and Paris thanks to a scholarship funded by Metropolitan Andrey Sheptytsky, Sosenko returned to Galicia and, continuing his mentor’s activities in the field of museums, became a full-time employee of the Church (later National) Museum. His direct contact with old monuments of iconography, manuscripts and incunabula, and folk art allowed him to gain a deep understanding of the peculiarities of Ukrainian national art. Thus, the combination of his personal talent, professional knowledge and museum experience, as well as his close relationship with the head of the Greek Catholic Church – Andrey Sheptytsky, who directed all his efforts towards the revival of the high culture of decorating the sacred space of Eastern Rite take up the challenge of the present day. However, it is not possible to appreciate Sosenko’s achievements in their entirety. The warfare in the region during the two world wars of the 20th century, the years of Soviet rule, which was intolerant of cultural, national and spiritual heritage, and even the first years of Ukrainian independence, were not conducive to the preservation of the churches and their decoration. As a result, researchers are forced to conclude that most of Sosenko’s works have been irretrievably lost. The artist’s sources of inspiration, the specific composition of his monumental artworks, the range of colours, the ideological and aesthetic programme can only be reconstructed on the basis of the decorations of two churches in the Lviv region: St. Michael the Archangel in the village of Pidberizci and the Holy Resurrection in the village of Poliany, by making comparisons with fragments of lost murals recorded in archival photographs, and by adding the decoration, already after restoration toning, of the artist’s last sacred object – St. Nicholas Church in Zolochiv. Even such scattered data make it possible to observe many of the author’s characteristics, to determine the process of the formation of Sosenko’s distinct individual artistic style, to which this study is dedicated.
PL
W znacznym dziedzictwie twórczym ukraińskiego artysty Modesta Sosenki (1875–1920) na szczególną uwagę zasługują polichromie i sakralne dzieła sztalugowe dla ponad dziesięciu galicyjskich cerkwi. Osoby mu współczesne zauważały, że prace sakralne artysty charakteryzowały się własnym „Sosenkowskim stylem”, w którym śmiało i organicznie łączyły się zreinterpretowane przez mistrzów XVI–XVII wieku tradycje bizantyjskie z nowoczesnymi europejskimi wymogami stylowymi przełomu XIX–XX wieku. Był on pionierem, który wyznaczył drogę rozwoju współczesnej sztuki świątynnej, czemu sprzyjały okoliczności jego życia. Po zdobyciu gruntownego europejskiego wykształcenia zawodowego w trakcie studiów w Krakowie, a także już jako stypendysta metropolity Andrzeja Szeptyckiego w Monachium i Paryżu, Sosenko powrócił do Galicji i kontynuując działalność swojego opiekuna w sferze muzealnictwa, został pełnoprawnym pracownikiem Muzeum Cerkiewnego (później Narodowego). Właśnie bezpośredni kontakt ze starymi zabytkami ikonografii, książkami pisanymi ręcznie i drukowanymi, z twórczością ludową pozwolił mu na dogłębne zrozumienie specyfiki ukraińskiej sztuki narodowej. W ten sposób połączenie osobistego talentu, wiedzy zawodowej i doświadczenia muzealnego, a także bliskie relacje z głową Cerkwi greckokatolickiej – Andrzejem Szeptyckim, który wszystkie swoje wysiłki ukierunkował na odrodzenie wysokiej kultury wystroju przestrzeni sakralnej świątyń obrządku wschodniego, zrodziło artystę intelektualistę, gotowego do podjęcia wyzwania współczesności. Nie można jednak w całości docenić dorobku Sosenki. Działania wojenne na tych terenach w obu wojnach światowych w XX wieku, nietolerancyjne wobec dziedzictwa kulturowego, narodowego i duchowego lata władzy radzieckiej, a nawet pierwsze lata niepodległości Ukrainy nie sprzyjały zachowaniu świątyń i ich wystroju. Dlatego badacze zmuszeni są stwierdzić, iż większość prac Sosenki została bezpowrotnie utracona. Źródła inspiracji artysty, specyfikę kompozycji jego fresków, gamy kolorów, programu ideowo-estetycznego można odtworzyć jedynie na podstawie fresków naściennych dwóch świątyń w obwodzie lwowskim: Archanioła Michała we wsi Podbereźce oraz Świętego Zmartwychwstania w miejscowości Polany, przeprowadzając porównania z fragmentami utraconych polichromii utrwalonych na zdjęciach archiwalnych, oraz dodając zdobienie, już po tonowaniu restauracyjnym, ostatniego obiektu sakralnego artysty – cerkwi św. Mikołaja w Złoczowie. Nawet takie rozproszone dane pozwalają na zaobserwowanie wielu cech autorskich, określenie procesu kształtowania się wyrazistej maniery indywidualnej Sosenki, czemu poświęcone zostało niniejsze badanie.
6
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Prowieniencja niektórych schematów ikonograficznych pasji Chrystusa w malarstwie ściennym średniowiecza na Słowacji i w Czechach

63%
Kliś Z.
Folia Historica Cracoviensia
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2004
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vol. 10
EN
In the depictions presented in the article the gesture of raised hands expresses either Mourning or the feelings connected with Entombing, whose image is supplemented by the gesture of raised hands from the scene of Mourning, among others. The main source of illustration in these works seems to be Italian art, present in Western European painting. Its basis are iconographic solutions of the Byzantine art.
PL
Artykuł omawia wybrane przedstawienia pasji Chrystusa w średniowiecznym malarstwie naściennym z terenu Słowacji i Czech. W powyższych przedstawieniach w geście uniesionych rąk jest wyrażone albo Opłakiwanie, albo uczucia związane ze Złożeniem do grobu, gdzie do tego wyobrażenia przeniesiono między innymi gest uniesienia rąk ze sceny Opłakiwania. Głównym źródłem obrazowania w powyższych dziełach zdaje się być sztuka włoska, obecna w przedstawieniach Europy Zachodniej. Podłożem dla niej są rozwiązania ikonograficzne w sztuce bizantyńskiej.
7
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W pogoni za oryginałem – palimpsest w malarstwie ściennym. Eksponowanie odkrywek

63%
Święcka E.
Architectus
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2018
|
issue 4(56)
43-52
PL
W artykule przedstawiono problemy związane z należącym do procesu badań powierzchni architektonicznych odsłanianiem malowideł ściennych. Omówiono też sposób przygotowywania w przeszłości wtórnych powłok przed nanoszeniem kolejnych dekoracji oraz podstawowe zasady postępowania konserwatorskiego. Warstwy stratygraficzne malarstwa ściennego stanowią: murowane podłoże, tynki, pobiały i warstwy barwne. Nie zawsze zdejmowane są wszystkie wtórne nawarstwienia z całej powierzchni oryginalnej dekoracji, czasami wykonuje się jedynie niewielkie odkrywki. Zdejmowanie przemalowań jest prowadzone w ramach prac konserwatorskich, dlatego duża część rozstrzygnięć należy do specjalistów z tej dziedziny. W przeszłości konserwatorzy odsłaniali zwykle w całości zachowaną warstwę najstarszą; późniejsze były po prostu tracone. Dziś istnieje wiele metod konserwacji i sposobów ekspozycji, aby ocalić malowidła pochodzące z kilku okresów historycznych, stworzone na tej samej ścianie. Różne sposoby i formy ich ekspozycji pokazano w artykule na fotografiach. Należy podkreślić, że jednoczesna prezentacja malowideł pochodzących z kilku okresów to głównie kwestia estetyczna. Nie wolno też zapominać, że dekoracja malarska nie tylko jest dziełem sztuki, ale stanowi dokument losów historycznej budowli.
EN
The article presents problems of revealing of mural paintings which is an integral part of architectural surfaces investigation. The paper also describes different kinds of preparatory layers used in the past as a support for new decorations and general rules of its conservation proceedings. The stratigraphic layers of mural painting are the following: the wall, plasters and renderings, strata of whitewash and polychromes. In some cases only limited parts of authentic paint are presented without removing of all layers added later on the whole decorated surface. Overpaintings are removed in conservation treatment, that is why the conservator is the one to make the most important decisions. In the past conservators used to reveal the oldest existing paint layer; overlapping layers were simply lost. Today there are many solutions and methods of conservation allowing to preserve and expose paintings created on the same wall in different historical periods. The photographs included in the article illustrate different systems and forms of presentation. It should be stressed that parallel presentation of paintings coming from several periods is mainly an aesthetical problem. One should also remember that painted decoration is not only a work of art but also a document of history of the building.
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