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O renesansowym obrazie z Ostrowi Mazowieckiej

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Pasicka-Szpor J.

Ochrona Zabytków

1979

issue 3

238-244

The conservatory works carried out on the painting o f „The Crucifixion” from Ostrów Mazowiecka, considered to be an 18th-century work, have revealed that it was painted between 1555 and 1556. This has been proved by both the analysis o f the written material concerning the Ostrów parish and the analysis o f its stylistic features. Moreover, a technological structure o f the painting as well as the use o f an azurite paint also point to an earlier period ot its creation. The painting and the church itself were founded by Andrzej Patrycy Nidecki, an outstanding Polish humanist. Prior to removing 19th-century repaintings a series o f X-ray examinations had been made and shown a good condition o f the original layer. Other studies performed comprised a stratygraphy of layers as well as a chemical examination o f original dyes and adhesives. Oily distemper was used both to paint and to repaint the picture. The main problem was to remove repaintings using a set o f reagents. Because o f damages in the painting layers and a significant change in the size o f the picture made during 19th-century conservation works, it was decided to fully reconstruct the painting, especially that it was again to return to its liturgical functions. The 19th-century repainting presented Christ’s figure on the cross against the clouds. The original painting, on the other hand, showed the Crucifixion with Our Lady, St John and St Magdalene againts the landscape. In building up this composition the author applied graphic patterns drawn from works by Albrecht Dürer and Hans Baidung Grien. These prototypes have been use of in reconstructing the missing parts o f the painting.

Krosna malarskie jako element datujący obrazy olejne Piotra Michałowskiego

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Pasicka-Szpor J.

Ochrona Zabytków

1983

issue 3-4

269-275

The article is part of a doctor’s thesis on ’’Materials and Techniques in Oil Paintings of Piotr Michałowski”. The work of this outstanding romantic painter came to light relatively late, hence it is difficult to date his unsigned paintings. On the basis of exmined frames, canvases, mordants and paints the author undertakes an attempt to reconstruct the order of the creation of paintings assuming that there are links between places of arist’s residence and materials used in painting. A study of 32 paintings of Piotr Michałowski found in the collection of National Museums in Cracow and Warsaw has shown that only eight original painters’ frames have been preserved. Despite such a small number of frames, they became an importat element in dating artisti’s work, just as their construction depended on places where they were bought or made. Preserved frames represent four different types according to the construction of angles. The construction of frames from big centres such as Cracow or Warsaw was most sophisticated for that period. On the other hand, the construction of frames from paintings done in country estates, made by rural carpenters reminds of combinations used in the 17th and in the first half of the 18th century. The dates of the manufacture of frames established in this way were verified during the examination of sub- paintings, mordants and paints, which proved the correctness of proposed dating. The results obtained in the studies reveal a necessity to pay attention to the recording of all conservation interferences including original frames, often removed inconsiderately.

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2 Ochrona Zabytków

2 Pasicka-Szpor J.

1 1983

1 1979

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O renesansowym obrazie z Ostrowi Mazowieckiej

Krosna malarskie jako element datujący obrazy olejne Piotra Michałowskiego