Wyniki wyszukiwania - Biblioteka Nauki

1

Konserwacja obrazu "Madonna z Dzieciątkiem i szczygiełkiem"

100%

Kostecki G.

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nr 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

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

88%

Krupska A.

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nr 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.

3

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

88%

Krupska A.

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2000

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nr 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.

4

Konserwacja obrazu "Pożar Lublina"

63%

Orthwein M. , Gawarecki H.

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nr 3

200-207