Search results

1

Konserwacja rzeźby "Król Kazimierz Wielki" z Muzeum UJ

100%

Niedzielska M.

Ochrona Zabytków

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1992

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issue 3

225-231

EN

The wooden sculpture entitlend „King Casimir the Great” , ca. 1380, which comes from the Collegiate in Wiślica, is at present the property of the Museum of the Jagiellonian University in Cracow. This is a complete sculpture, executed in limewood, with polychromy, and covered with silver and gold paint. The prime conservation problem is the consolidation of the wood damaged by insects and the adhesion of impaired polychromy on almost the entire surface of the object. The impregnation of the wood was conducted with a 20 per cent solution of Paraloid B-72 in xylene, in a vaccum chamber under pressure. The loose polychromy was glued on with ethylene polyglicol PGE 2000, polyalcohol of vinyl water, used in the following proportions: PGE 2000 - 40 per cent, PAW - 4,8 per cent, water - 55,2 per cent. The sculpture was cleaned, the paint was retouch and the badly executed linning of the coat was removed. All the missing ground of the paint layer was implemented, and the lining of the coat was reconstructed. (translated by A. Rodzińska-Chojnowska)

2

Przeniesienie dwóch warstw malarskich z feretronu z Wielgich z próbą osadzenia jednej z nich na nowym podłożu

100%

Lempart-Geratowska M.

Ochrona Zabytków

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1992

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issue 3

184-191

EN

The article is a report from the conservation of a feretory, painted on two sides; the basic assumption of the undertaking was to uncover the original paintings with the simultaneous retention of the later layers. The transferred paintings were placed on a new base. The conservation was part of a diploma work, and applied the method proposed by J. Kucaba. Upon the base of technological research and the state of the object, the first stage of the work involved the attempted transfer of a fragment of the oil paint layer - „The Scapular Virgin Mary” - from the rewerse of the feretory (nineteenth-twentieth century). The succesive attempt pertained to the separation of the painting on the obverse - „St. Isidore the Ploughman". The applied method made use of the possibility of softening the secondary paint layer without damaging the original tempera layer. The softening process took place inside a chamberused for steaming with two-ethylic formamide. The painting was softened horizontally. Following the softening of the paint layer, a face composed of two layers of tissue paper and polyester foil was employed. The adhesive in this case was Velpon. The paint layer within the range of the oil underside was cut. These operations were repeated upon the occasion of treating each separated part of the painting, both on the reverse and the obverse. The following question concerned the placing of one of the fragments of the transferred paintings onto a new base. Finally, upon the base of numerous attempts, the selected method consists of placing putty, suitably coloured with the help of polyalcohol of vinyl, the adhesion of the relining layer made of tissue paper and the intervention layer, composed of polyurethane foam, cut in the shape of plates; the binder was a diffusion of polyoctane of vinyl in water. It became apparent, however, that this method caused a deformation of the paint surface. It became necessary to remove the wrong coating and to apply one closer to easel painting. The second undertaking consisted of impregnating a fragment of the painting with a wax-resin coating, the adhesion of an intervention layer composed of fabric, and the use of a wax-resin mixture, this time as a binder. All these stages were performed on a vaccuum table, and pertained only to „The Scapular Virgin Mary". This fragment was the placed on a new base, made of pine wood modified by the so-called pine lignomer. The adhesive was in this instance polyoctane of vinyl in a solvent. After a certain time, it was noticed that the base became excessively uneven; this fact led to a decision to change the base. The new base was composed of limewood impregnated with shellac, while the adhesive was once again a wax-resin mixture. In the final stage, losses in the paint layer were replenished and warnish was applied. As a result of the conducted operations sthree independent objects were obtained: a feretory painted on two sides, with an uncovered original polychromy from 1690, and two paintingstransfers: „The Scapular Virgin Mary" and „St. Insidore the Ploughman" (translated by A. Rodzińska - Chojnowska)

3

Konserwacja rokokowych relikwiarzy skrzynkowych z kościoła przyklasztornego w Kartuzach

88%

Krupska A.

Ochrona Zabytków

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1997

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issue 3

195-205

EN

The conservation of a series of eight gilt box reliquaries in the cloister church in Kartuzy encompassed ornamental cardboard — exterior and the outfitting of their interiors. These objects constitute an extremely interesting example of the Rococo gilding workshop. All, with a single exception, possess a technical — technological construction based on a similar principle. The exterior is composed of three basic elements: a) a cardboard frame about 0 .5-0.7 cm thick, with gilt polychromy and a rocaille embossed ornament; b) a wooden supporting construction of the frames, closely connected with the face; c) a box for reliquaries. Reliquary no. 8 is a plaster cast of its predecessor (no. 7), whose shape and type of ornament differs from the other examples. The state of the preservation of particular reliquaries differs but due to a similar technical and technological construction, the damage suffered by all was rather similar. The faces of the objects were covered by thick layers of repainting. The wooden construction was weakened, numerous decorative elements were missing, and the wood bore traces o f insects. The almost uniform type of damage made it possible to prepare a complex conservation programme. Team work also contributed to a more effective course of the necessary operations, which involved a disinsection of all the reliquaries, the impregnation of the weaker wooden elements, a supplementation of missing supporting and decorative elements, the removal of repainting ,and retouching the surfaces of the original polychromy. The intention o f all these undertakings was to restore aesthetic values and guarantee the functional character of the objects. Although the above mentioned operations belong to routine work, they required imagination and efficiency on the part of the artisans. The workshop origin of the reliquaries from Kartuzy remains unknown, and its determination would prove to be extremely difficult without special, more extensive studies. Quite possibly, the objects in question constitute a legacy of those popponiers whose activity in the mid-eighteenth century in France was extremely highly assessed and who produced assorted decorative objects from cardboard or papier mache.

4

Polichromia drewnianych stalli w kolegiacie w Żółkwi

88%

Chmielewski K.

Ochrona Zabytków

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1997

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issue 1

71-74

EN

The presbytery o f the collegiate church in Żołkiew contains wooden stalls covered with polychromy. The original painted decoration was to a considerable degree concealed by the second layer o f oil repainting. Conducted studies determined the range and degree o f the preservation o f the original polychromy and its chemical composition. The polychromy was executed directly on w ood with plant-derived black mixed with egg white binder, and probably with the addition o f ferric-gallate ink. In the beam part, the ornament was painted on white priming ground whose fundamental component is calcium carbonate. A considerable part of the polychromy was transferred to the base with the help of suitable patterns. The whole was covered by semi-transparent resin lasing, only partially extant. Research into the repainting showed the satisfactory state of the original painted decoration of many elements of the stalls. Its form, similarly to the style of the carved decoration, carries distinct Manneristic features, combined with an earlier Late Renaissance element. Presumably, the stalls were made in the first quarter of the seventeenth century, and comprised one of the elements of the original church decoration. The author postulates complete conservation of the wooden construction, damaged to a large extent, and the removal of the repainting, followed by a conservation of the polychromy and the reconstruction of the missing fragments.

5

KONSERWACJA XVII-WIECZNYCH MALOWIDEŁ W CELACH NOWICJACKICH KLASZTORU OJCÓW BERNARDYNÓW W LEŻAJSKU

75%

Obruśnik A. E.

Ochrona Zabytków

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2009

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issue 1

12-37

EN

One of the essential recent phenomena in the conservation of historical monuments in Poland was the discovery of seventeenth-century murals in the novitiate cells of the Bernardine monastery in Leżajsk. The murals embellish seven interiors with a cross vault, placed along a second- -storey corridor of the western wing of the building. For centuries they had been concealed under later layers lime, sand-lime finish, paint and plaster. The characterstic feature of the murals is great stylistic diversity. The themes of the figural depictions are religious or allegoric, accompanied by plant-geometrical inscriptions. The south wall of cell no. 1 is decorated with traces of a landscape sequence including a figure of a monk, while the west wall – with a drawing of a monk and on the window embrasure – a monogram of the Holy Family. The north wall features the Madonna and Child surrounded by angels, a town panorama and, in many places, fragments of geometric ornaments. The east wall of cell no. 2 displays horizontally arranged lines, a figure of St. Margaret and within the door embrasures – the Golgotha with a figure of Satan and an emblem of death. The south wall contains a figural and genre scene as well as a wreath with the monogram ”IHS”. The west wall features a symbol of the Name of Mary and an outline of a clock. The north wall is decorated with a text of a prayer, fragments of a wreath, a genre scene and a figure of a man. Cell no. 3 displays a predominance of geometrical ornaments. The west wall shows the contour of a Latin cross and a figure of Franciscan, the west wall – a figure of a (statuesque) woman, and the south and north walls – inscriptions and individual figural accents as well as monograms of the names of Jesus and Mary. The east wall of cell no. 4 is adorned with a painted portal, a cornice and a motif of flowers in vases. The upper part of the south wall preserved fragments of inscriptions and a radial gloria with the monogram “IHIS”. The motifs on the west wall include the Golgotha, a clock face and three rosettes. The upper part of the north wall contains a Marian emblem surrounded with a nimbus and flanked by bouquets of flowers in vases, while the lower part is composed of a scene with a monk portraying in front of a cross. In cell no. 5 angels had been painted above the door, with an allegory of death to the left of the door, a figure of monk and an owl within the door embrasures, and the Crucifixion encircled by relics of lesser scenes. The west wall preserved a depiction of the five wounds of Christ while the north wall features fragments of angels and the emblem ”IHS”. Each wall has an inscription along the ceiling arch. The east wall in cell no. 6 is covered with figural, plant-ornament motifs, inscriptions and monograms of Christ and the Mother of God. The left door embrasure is embellished with a figure of a Franciscan, while the south wall has a Marian monogram encircled with a decorative rosette, a wreath, a Latin inscription and lesser monograms. Similar elements are to be found on the west wall. The upper part of the north wall shows two monograms of Christ, a Marian monogram and a monogram of St. Joseph, while the lower one – two wall hangings, a rosette and lesser monograms and genre scenes. In cell no. 7 murals are extant on the east wall. Legible elements include the inscription ”MEMENTO MORI”, fragments of plant-geometrical ornaments and architectural motifs. The murals were executed in the al secco technique. Due to extensive gaps produced by repairs, redesigning and mechanical damage, their state of preservation is highly unsatisfactory. The examination revealed 23 technological strata and 14 chronological ones. The first stage of conservation consisted of disclosing the murals, their fixation, the removal of putties and the reinforcement of the structure of the base as well as supplementing, cleaning and introducing the uniform colour of the original plaster. In the case of certain gaps conservators applied retouching. Niches in the north walls and window embrasures were restored in all cells. The mural in cell no. 1 on the left door embrasure was lifted off the wall by means of the stacco method due to threats connected with repairconstruction undertakings. A fragment with a mural on the east wall to the left of the door in cell no. 3 was removed in a similar way and placed on the west wall. After the conservation, the group stratigraphy of the murals revealed eight technological layers. The titular murals deserve further thorough studies.

6

Portal Sieni Gdańskiej na Długim Targu i wystrój rzeźbiarski kamienicy Andrzeja Schlütera Starszego przy ul. Piwnej 1 w Gdańsku

63%

Angielska-Szemelowska A.

Ochrona Zabytków

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1992

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issue 4

324-341

EN

The portal of the house at 43 Długi Targ Street, called „the Danzig Vestibule" and the sculptures at the facade of the house at 1 Piwna Street in Gdańsk are counted among the most beautiful monuments of the town. Unfortunately, only the portal of the Danzig Vestibule survived from the magnificent decoration of its elevation which is presented at a seventeenth- century engraving. The object, which represents the style of the .so-called „northern mannerism", was probably created in the last decade of the 16th c. in the workshop of a sculptor of Flemish origin, Willem van der Meer the Elder. The analysis of this work licenses the hypothesis that the inventor of its artistic form drew models from Cornelis Floris. The ideological program of the portal combines the Neoplatonic ideas with the civic rights obeyed in the protestant Danzig. The sculptures placed on the facade of the house at 1 /2 Piwna Street, created half a century later, include busts of kings, soldiers and ancient heroes, mascarons and ornaments in the shell style and a portal richly decorated with figurai sculptures. Based on research we suppose that most of the sculptures were made by Andrzej Schluter the Elder in the years 1 6 3 8 -4 0 to the order of the first owner of the house, Hans von Enden. He probably designed the interiors of his house himself in the way that expressed a complex political and religious program. In the centre of the facade composition there are sculptures glorifying the military activity of the Vasa king as well as reliefs which testify to his interest in Noestoicism. In the portal sculptures personifying theological virtues were placed. As the portal and the sculptures of the facade were preserved in a very bad state the authoress of the present article was employed to execute research and conservation of these objects in the years 1983-85. The damages observed included substantial losses in the sculptures, sliding and fracturing of elements as well as numerous traces of fire. Moreover, the surface was covered with thick layers of paint and substances resulting from sulphate corrosion of stone. After research it was concluded that the objects had been made of sandstone with limy and loamy binder, called Gotlandic from the place of its origin. Low resistance of that type of stone to atmospheric influence should be attributed to its mineral composition, as well as with low durability parameters, high porosity and absorption level and its ability to conduct water. The presence of the limy binder contributes to the granular disintegration of sandstone and to the emergence of substances containing gypsum. Moreover, loamy minerals, constituting the other component of the binder, are susceptible to changes of humidity and temperature. Due to the so-called „swelling effect" strong internal stresses occur in stone, causing the element to fracture. Another factor which predestined sculptures of Gotlandic sandstone to this process is the microtexture of mica. The disintegration of the sculptures at 1 /2 Piwna Street and the portal of the Danzig Vestibule was significantly accelerated by incompetent conservation in the past. The conservation was limited to inserting fillings made of another kind of sandstone into the structure of the portal of the Danzig Vestibule, replenishing the losses in highly alkaline sculptures with strong and non-porous cement and covering the surface with several layers of emulsion paint (the Danzig Vestibule) or oil paint (Piwna Street). The damages in the discussed objects were extended by fires which happened in both houses in the past. The new conservation plan included both the technical renovation of all the objects and the restoration of their formed function of grand residences. The artistic arrangement was to be realized on the basis of research and iconography. The authoress, who worked on the conservation of all the objects, was greatly surprised to discover an original, well-preserved Baroque polychromy on the sculptures and the portal of Hans von Enden's house. This important discovery allowed for reconstructing the significance and function of polychromy in case of stone sculptures. Moreover,thanks to its specific properties, it protected the stone sculptures from the destructive influence of the environment. The conservation of the portal of the Danzig Vestibule and the sculptures on the facade of 1 /2 Piwna Street was started with a preventive strengthening of the falling surface of stones, pasting and protecting the fracturing elements, splits and cracks. Then the layers produced by sulphate corrosion, emulsion and oil paint were removed from the surface by mechanical and chemical methods (by hydrolysis). The objects lacking the original polychromy were desalted by forced migration to diffused environment. Cement inserts and additions were carefully removed. Both portals and the sculptures were structurally impregnated and made resistant to water. The fracturing elements were additionally strengthened with aluminium tie bars, also for the safety of the users of the buildings. The losses in sculptures were refilled with mortars based on epoxy resin (the facade reliefs) or on lime and cement. The latter were prepared of low alkaline Portland cement and a mixture of aggregates of chosen granulation. Then, the well-preserved original Baroque polychromy was conserved following the earlier advice of the Conservation Committee. Finally, it should be mentioned that all conservation procedures were preceded with chemical analyses of paint layers and the level of stone salinity.

7

Treści i symbolika polichromii w kościele cystersów w Jędrzejowie (zarys problematyki)

63%

Rotter L.

Folia Historica Cracoviensia

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2004

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vol. 10

EN

A close theological and artistic co-operation has been observed in religious art since the Middle Ages. In the Baroque this co-operation was best revealed in monumental decorations inside churches. An example of it is the polychromy in the abbot church in Jędrzejów, whose author was Andrzej Radwański. Intention plan includes both theological content and issues connected with spirituality and activity of the Cistercian order. The history of the Jędrzejów Abbey was particularly emphasized and so was the person of the Blessed Wincenty Kadłubek, who was connected with it. A correlation between historical and symbolical depictions is very interesting; a method often used by Radwański in his monumental decorative painting.

PL

Historia archiopactwa cystersów w Jędrzejowie sięga XII wieku, kiedy to, z inicjatywy braci Klemensa i Jana Gryfitów, sprowadzeni zostali do Polski pierwsi cystersi. Fundatorzy w latach 1141-1149 wznieśli i uposażyli dla nowo sprowadzonego zakonu klasztor w Jędrzejowie (dawniej Brzeźnicy). Klasztor ten stał się 21 filią opactwa w Marimond. W 1149 roku został podniesiony do godności opactwa. Równocześnie opactwo jędrzejowskie dało początek nowym fundacjom na ziemiach polskich - w Szczyrzycu i Rudach Wielkich. Polichromia w kościele opackim w Jędrzejowie była pierwszą samodzielną i zarazem tak dużą realizacją młodego naówczas artysty – Andrzeja Radwańskiego.

8

Trinitologia picta na przykładzie polichromii w kościele pod wezwaniem Nawiedzenia NMP w Kaliszu. Program badań

63%

Sprutta J.

Poznańskie Studia Teologiczne

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2021

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issue 39

227-244

EN

The polychrome of the Bernardine church in Kalisz (now the Jesuit church) is rich in Trinitarianthemes. Trinitarian motifs and symbols are presented most abundantly in the nave. The wall paintings of the presbytery and the nave painted by brother Walenty Żebrowski, Bernardine. These paintings are from the late Baroque. The polychrome of Kalisz is the last work of this Bernardine. W. Żebrowski worked not only in Kalisz, but also for the Bernardine churches in Poznań, Kadyny, Wschowa, Skępe, Warta, Ostrołęka, Warszawa and probably in Owińska, Ostrzeszów and maybe in Łęczyca too. He was particularly famous as a landscapist. Although the article shows Trinitarian motifs and symbols on the wall paintings in the Bernardine church in Kalisz, it also shows the artistic activity of W. Żebrowski in the mentioned big and small towns and villages.

PL

Polichromia kościoła pobernardyńskiego w Kaliszu (obecnie jezuitów) bogata jest w tematykę trynitarną. Motywy i symbole trynitarne najobficiej występują w nawie. Malowidła ścienne prezbiterium i nawy wykonał bernardyn, brat Walenty Żebrowski. Pochodzą z późnego baroku. Kaliska polichromia to ostatnie dzieło tego zakonnika. Poza Kaliszem W. Żebrowski tworzył również dla bernardyńskich kościołów w: Poznaniu, Kadynach, Wschowie, Skępem, Warcie, Ostrołęce, Warszawie oraz przypuszczalnie w Owińskach, Ostrzeszowie i być może też w Łęczycy. Zasłynął zwłaszcza jako pejzażysta. Artykuł, mimo iż poświęcony został trynitarnym motywom w polichromii kościoła pobernardyńskiego w Kaliszu, prezentuje także artystyczną działalność W. Żebrowskiego w wymienionych powyżej wielkich i mniejszych miastach oraz wsiach.

9

Toruń - nowo odkryte czternastowieczne malowidła ścienne

63%

Ochrona Zabytków

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1963

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issue 2

71

10

Dekoracja malarska na sklepieniu kolegiaty pułtuskiej : odkrycie, konserwacja, rozwiązanie artystyczno-estetyczne

51%

Stawicki S.

Ochrona Zabytków

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2002

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issue 3-4

326-338

EN

The painted decoration embellishing the vault of the collegiate church in Pułtusk is one of the largest in Poland and totals about 700 sq. metres without the frieze (composed of architectural niches), which constitutes the lower part of the vault supported directly by northern and southern abutments. The polychrome was executed after 1551, the year of signing a contract with Master Wojciech of Warsaw. The vault polychrome assumed the form of stylised rosettes, fleurons and portrait-heads, inserted into the architectural-decorative configuration of the vault, which constitutes a net made of the alternate onion-shaped and circular forms, creating the so-called Pułtusk vault. After a fire in 1613, the interior of the church, including the vault, was painted over in a uniform colour, probably imitating the firmament. During the almost 300 years-long history of the church, the vault was frequently painted over in a single hue for aesthetic and hygienic reasons. The same purpose, which was to be realised in 1994, led to the discovery of the polychrome, first mentioned already in the seventeenth century. Routine research preceding the intended painting of the church interior confirmed the existence of polychrome decorations on the vault and, as could be assumed from initial work, also on the frieze. The discovery and ensuing conservation were accompanied by considerable interest on the part of the mass media, especially the press. Numerous widely read journals and popular scientific periodicals quoted characteristic comments and accounts from assorted communiques and newspaper notes. The value of those statements and their editorial form leave much to be desired, although they reflect concern for the historical monument and a readiness to stimulate interest in the fate of national culture. The disclosure and conservation of the painted decoration in Pułtusk constituted a serious effort of conservators of art. Suffice to emphasise that almost 3 cubic metres of six to nine assorted worthless layers of paint and lime whitening were removed in the course of uncovering the original polychrome. The conception and realisation of the best possible artistic-aesthetic solution posed a separate problem associated with work after routine technical operations. The state of the preservation of the polychrome and the character of the interior of the collegiate church, as well as its historical value and tourist assets imposed a solution (retouching and the reconstruction of the missing parts of the polychrome) which rendered the painted decoration legible, at the same time preserving its authentic ideological, stylistic and artistic character.

11

Renowacja ikonostasu oraz polichromie w prawosławnej kaplicy cmentarnej pw. św. Jerzego w Topilcu

51%

Sobczak J.

Latopisy Akademii Supraskiej

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2021

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vol. Obraz - Słowo - Litera

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issue 12

117-121

EN

The beginnings of the Orthodox parish in Topilec, the Białystok poviat, date back to the first half of the 16th century. There is a cemetery chapel erected in 1951 on its territory. In the years 2018–2020, comprehensive artistic work was carried out there. The iconostasis of the chapel was renovated and supplemented with a deacon doors. Also the polychromes of the presbitery and the chapel’s vaults were also developed. The depictions of the saints were inspired by the local iconographic tradition and early Christian art. The symbolism and aesthetics taken from the „martyrs’ era” are intended to emphasize the exceptional importance of the cemetery, where many innocent victims of the post-war period were buried.

32%

Ochrona Zabytków

|

1951

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issue 3-4

199-205

Refine search results

Konserwacja rzeźby "Król Kazimierz Wielki" z Muzeum UJ

Przeniesienie dwóch warstw malarskich z feretronu z Wielgich z próbą osadzenia jednej z nich na nowym podłożu

Konserwacja rokokowych relikwiarzy skrzynkowych z kościoła przyklasztornego w Kartuzach

Polichromia drewnianych stalli w kolegiacie w Żółkwi

KONSERWACJA XVII-WIECZNYCH MALOWIDEŁ W CELACH NOWICJACKICH KLASZTORU OJCÓW BERNARDYNÓW W LEŻAJSKU

Portal Sieni Gdańskiej na Długim Targu i wystrój rzeźbiarski kamienicy Andrzeja Schlütera Starszego przy ul. Piwnej 1 w Gdańsku

Treści i symbolika polichromii w kościele cystersów w Jędrzejowie (zarys problematyki)

Trinitologia picta na przykładzie polichromii w kościele pod wezwaniem Nawiedzenia NMP w Kaliszu. Program badań

Toruń - nowo odkryte czternastowieczne malowidła ścienne

Dekoracja malarska na sklepieniu kolegiaty pułtuskiej : odkrycie, konserwacja, rozwiązanie artystyczno-estetyczne

Renowacja ikonostasu oraz polichromie w prawosławnej kaplicy cmentarnej pw. św. Jerzego w Topilcu

Metoda i wyniki badań wystroju malarskiego budynków przy ulicy Kanoniczej

Wymiar ekumeniczny wielojęzycznych ornamentów w ikonografii cerkwi prawosławnej w Przemkowie autorstwa prof. Adama Stalony-Dobrzańskiego

Kaplica biskupa Krzysztofa Andrzeja Jana Szembeka we Fromborku i jej dekoracja malarska z pierwszej połowy XVIII wieku

Najstarsze wizerunki Jana Długosza

Problematyka badawczo-konserwatorska ozdobnego sarkofagu miedzianego Hedwig Elizabeth von Arnim z 1661 roku z bazyliki pw. św. Jadwigi Śląskiej i św. Bartłomieja Apostoła w Trzebnicy

Profesor Adam Stalony Dobrzański– mistrz i nauczyciel Jerzego Nowosielskiego

KRONIKA. Woj. krakowskie