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Gatunki drewna stosowane w ikonach karpackich

100%

Kosiorek A. , Ważny T.

Ochrona Zabytków

1997

nr 3

315-320

The Carpathian icons constitute a group of works of sacral art which occur both in south-eastern Poland and in Slovakia, Rumania and Ukraine. They are painted primarily on a wooden base. Owing to the fact that there are no detailed studies on the subject of the used types of wood, the authors examined thirty nine precisely dated icons executed on coniferous wood as well as few examples on leafy wood. Thirty icons were painted on fir, five on spruce, and four on a pine foundation. These icons are to be found in museum collections in southern Poland — the National Museum in Krakow (the Szolayski House Department), the National Museum of the Przemyśl Region in Przemyśl, the Regional Museum in Nowy Sącz and the Castle Museum in Łańcut. The oldest object is dated 1621 and the newest — 1902. A chronological comparison of results presented in a table makes it possible to observe the absence of differences between types of wood employed in the seventeenth and eighteenth century. The outcome of research distinctly suggests the universal usage of fir. This finding confirms the initial assumption that the artists employed easiest accessible material from the local forests. The authors also analysed methods of preparing boards: the most frequently used was an intermediate type, between the osculating and radial varieties which includes an arrangement of rings both osculating and radial; such boards are preserved in a relatively good state.

Przygotowanie tkaniny do restauracji "Panoramy Racławickiej"

100%

Paradowska E.

Ochrona Zabytków

1984

nr 4

266-269

The article discusses basic tests carried out on the sample taken from the Panorama in order to design a fabric for patching up mechanical or physical damages to the canvas. The testing method as well as the principle parametres which resulted are presented: weave, mass1, filling of the fabric, linear density, incorporation, the kind of warp and weft (thickness and strand) and the material Used. Also the testing of the reproduced fabric is discussed in detail and the aforementioned parametres are supplemented wiith those of Strength, change of dimension when wet, hygrosoopicity, the angle of crease. It should be mentioned that the research proved that the panorama fabric must meet specific requirements, different from those applied to ordinary fabrics or even to specially designed painting canvases but meant for smaller pictures.. It is so because fabrics used for really large pictures must withstand specific tensions one at variance with another, longitudinal tension produced by the upper suspension and the weighted bottom, and transverse — resulting from the segments being joined crosswise (this causes very strong transverse tensions in a fabric). Resistance to transverse tensions was obtained by using a weft of a particularly strong yarn made of four stranded threads and a warp of a single yarn which was then interwoven in two threads; thus an appropriate density and an even surface of the fabric were achieved. Furthermore the article discusses the parametres and the principles of selection of reinforcing fabric, the fabric used to reinforce the upper parts of the segments (the places of suspension) as well as other textile materials used during conservation such as threads for the patch up, an unwoven fabric (’’fizelina”) for the reinforcement of the seams.

Badania technologiczne i konserwacja podobrazia drewnianego epitafium Wierzbięty z Branic

100%

Niedzielska M.

Ochrona Zabytków

1970

nr 2

89-96

The Wierzbięta of Branice epitaph portrait dating back to 1425, now a property of the National Museum, Cracow, represents one of the most ancient pictorial documents of medieval culture in Poland. In 1936 the picture was subjected to essential restoration whose failure consisted in using the sodium silicate (soda liquid glass) as wood preservative for the backing affected by lignicole insects. To obtain more efficient saturation of the board the latter has been cut half-deep of its thickness. In effects of the sodium silicate action the glutin-containing glue fastening the boards together has been hydrolysed. The boards unglued and the paint layer along the former glue joint was held only by means of a canvas strip covering the joint line. As result of impregnation with soda liquid glass the backing of the Wierzbięta portrait underwent strong alkalization that manifested itself by extreme suscebility to changes of temperature and relative air humidity and also by warping of boards. Vehement movements of the board brought forward a threat of damages to painting. Problems involved in the consecutive restoration carried out in 1964 consisted in need to balance the backing which the task, after several investigations and tests, has been completed through its saturation with wax filler applied throughout the whole board thickness. It can be stated now that the method applied has proved reliable as during the five-year period after restoration no movements of board have been observed.

Technologia malarstwa tablicowego Małopolski (1480 - ok. 1510)

75%

Nykiel J.

Ochrona Zabytków

1992

nr 3

201-224

This work was conducted in 1976 as a continuation of earlier technological research concerning panel paintings of the so-called Cracow-Sącz school. The technological investigations dealt with 15 objects representative for that period. In the case of each object, the research pertained to the materials, beginning with the base, ground, gold leaf and pigments, with particular attention paid to the technique of their usage. Much time was devoted to an analysis of the technique of painting particular parts of the compositions such as: the complexion, draperies, architecture etc., with a disstinct emphasis placed on the presence of several variants of applications painted on bases and gold leaf. Tables showing the outcome of research into the materials and painting techniques constitute a technological-technical catalogue for the objects of the essemble in question. The results of the study reveal many technological analogies with European panel paintings of the period, and in the field of techniques demonstrate a tendency to wards territorial distinctness. (transleted by A. Rodzińska-Chojnowska)