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1

"Degradation, conservation et restauration de l’oeuvre d’art", R. H. Marijnissen, Bruxelles 1967 : [recenzja]

100%

Szyszko W.

Ochrona Zabytków

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1970

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issue 4

332-334

2

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

75%

Dobek J.

Ochrona Zabytków

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1990

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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.

3

Zmiany wyglądu punktowań w malarstwie sztalugowym : bielenie powodowane przez niektóre białe pigmenty

63%

Szmit-Naud E.

Ochrona Zabytków

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2000

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issue 1

69-76

EN

The milkiness of retouched blank spaces in easel painting constitutes a highly visible and relatively frequently observed change, which disturbs the aesthetic reception of a given work. In many cases, responsibility for its appearance should be placed on white pigments with photocatalytic properties, used for retouching. The author examined more than ten cases of milkiness by resorting to fluorescence and X-ray diffraction. The findings point to the presence of photoactive pigments: zinc white — zinc oxide, and titanium white — anatase titanium dioxide. Some of the registered changes came into being in the course of merely several years. Suitable information about the pigment composition of material used for retouching could enable conservators to limit the risk of causing future changes consisting of milkiness. With this purpose in mind, the analysis encompassed up to twenty white paints and pigments applied in conservation retouches. Many of them, due to their pigment composition, could produce changes that assume the form of milkiness and chalking.

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3 Ochrona Zabytków

1 Dobek J.

1 Szmit-Naud E.

1 Szyszko W.

1 2000

1 1990

1 1970

"Degradation, conservation et restauration de l’oeuvre d’art", R. H. Marijnissen, Bruxelles 1967 : [recenzja]

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

Zmiany wyglądu punktowań w malarstwie sztalugowym : bielenie powodowane przez niektóre białe pigmenty