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Tytuł:
Artystyczna funkcja pracy konserwatora (Artykuł dyskusyjny)
THE ARTISTICAL FUNCTION OF THE CONSERVATOR’S WORK
Autorzy:
Furdyna, Józef
Powiązania:
https://bibliotekanauki.pl/articles/535925.pdf
Data publikacji:
1970
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
konserwator-artysta
sztuka dawna
sztuka współczesna
teoria konserwacji
dokumentacja konserwatorska
Opis:
To throw the light on some doubtful problems connected with the work of a conservator acting as an artist was the author’s intention in preparing of his article. For his considerations were taken into account both the art of the past and that modern seen from the point of view of their social function with regard to actual cultural requirements and basing on elements of the art and artistic production theory. Going on an assumption that the monuments of art affected by the action of time and under influence of local conditions are subjected to constant changes and destruction it may be generally stated that the scope of conservation in equal measures consists in protection and preservation of both the documentary and artistic values present in the works but also in the aesthetical and artistical preparation and arranging of the objects subjected to conservation for utilitarian purposes. As has already many times been emphasized in his theoretical publications and practically applied solutions by the late Professor J. E. Dutkiewicz the conservation so meant may, and in several cases should display an artistically active and creatively orientated attitude. As an obligatory rule in conservation should be accepted the striving to get the most precisely defined truth about the work of art — comprising the historical, material, content, and artistic truth in the object by itse lf representing an authentic record of the time, style, place and ideology. In his efforts aimed at the practical defining the precise truth about the work the conservator as an executor should possess a good deal of manual abilities and also be conscious in his choice of technological methods and possibilities of historical and style argumentation. As the manual abilities of a conservator are to be understood both the skill and artistry able to subordinate his activities to the final, purely artistic result. The problem, however, does not merely consist in the active apprehension of conservation as an one of artistic disciplines. A considerable number of works of art has come up to our days in fragmentary forms. In the proper elaboration, arrangement and organisation on a wall, within an interior, in a sculpture or picture of authentic elements are to be sought the possibilities and in some cases even the artistic and utilitarian sense of the conservator’s action. Since the conditionings of an existence are not only contemporary but also historical ones, in his search for authenticity in works which frequently enough is not linked with a single author or even the single historical period he must form these works purposefully, by his creative will, at the same time furnishing them with a documentary force and binding them with the context of the local artistic realities. A purposeful arrangement of an ancient work of art in a neighbourhood of modern elements or with a linkage to the new social, ideological, educational or utilitarian functions frequently results in a quite unexpected, artistically modern expression. And also in this respect it may be considered as the creative act from the other artistic disciplines differing only by its kind and „taste” of engagement. The conservator’s ex e cu tion in Poland, repudiating the formerly observed rules of the style purity, the ignoring of the cultural context of the work, the belief that the work of art represents a pure product of an artistic concept as such deserving the extension of its life, is rising nowadays to the level of an authentic artistical discpline with its strictly determined and unique, own peculiarities. As the expression of such approach to this profession may be considered the fact that those w illing to act as conservators are being trained mainly at the Academies of Fine Arts and within the final period of their studies specialising in their respective lines of the future activities. At the end of his article the author makes an attempt to determine the terms — fine arts and beautiful arts, relating them to the specialised section of the Union of Polish Artists which, according to its statuary outlines, is being understood as a kind of professional community. Within this community there is a place for different artistical orientations, including the s.c. applied art, to which the conservation is closely related being today lastingly connected with the programme of building the culture of the nation who has suffered such immense losses in her history.
Źródło:
Ochrona Zabytków; 1970, 4; 243-249
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wpływ konserwacji zabytków na historię sztuki
INFLUENCE DE LA CONSERVATION DES MONUMENTS SUR L’HISTOIRE DE L’ART
Autorzy:
Dobrowolski, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/537689.pdf
Data publikacji:
1949
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
konserwacja zabytków
naukowy charakter konserwacji
współzależność konserwacji i historii sztuki
konserwacja a prehistoria
historia polskiej sztuki romańskiej
polska sztuka gotycka
polska sztuka renesansu
polska sztuka baroku i klasycyzmu
budownictwo drewniane
Opis:
L’une des bases de l’histoire de l’art, considérée comme discipline scientifique à part, est la conservation des monuments. Celle-ci est en fait un travail de découverte: elle parvient souvent à mettre à jour le véritable caractère du monument caché sous de nombreuses couches. Voici pourquoi la conservation des monuments n’est point seulement une discipline technique, mais bien une science appartenant aux humanités. Le conservateur n’est point qu’un fonctionnaire administratif, mais un homme de science en premier lieu. D ’ordinaire, le public n’a p précie point à sa juste valeur le travail du conservateur et pourtant, sans lui, l’histoire de l’art ne saurait exister. La conservation conditionne l’enseignement de l ’histoire de l’art en assurant l’e x i stence des monuments attaqués par le temps et d ’autres facteurs de destruction, en fournissant constamment de nouveaux matériaux, eu renforçant la science et é tendant les limites de ses é tude s et de ses recherches. Les travaux des conservateurs obligent la science à opérer la révision de ses opinions, à les approfondir et les étendre et, bien des fois, à les mo difier totalement. L’histoire générale de l’art nous fournit quantité d ’exemples à l’appui de cette thèse, comme par ex. la découverte de l’antiquité par lu renaissance (Raphaël conservateur), la dé couverte de Pompé i et d’Ilerculanum au XVl I l -e s., les mérites de Violletle- Duc, la découverte de l’art asiatique, arabe et grec (monuments transportés aux musées d’Europe). Les mérites des conservateurs polonais, infatigables dans leur tâche, ne sont pas moindres à l’égard de l’histoire de l’art en Pologne, ( l ’est d’après leur travail et leurs découvertes ((ne prenaient forme et se modifiaient nos connaissances sur les arts plastiques en Pologne. L’auteur cite de nombreux exemples de l ’histoire de l’art chez nous. Dans le domaine de l’archéologie préhistorique et des débuts de l’histoire, les résultats scientifiques de la conservation ont anéanti les suggestions toutes partiales de la science allemande; ils ont prouvé que notre culture ethnique propre était d’un niveau élevé. (Fouilles de Biskupin, d ’Opole, de Gniezno, de Poznań, de Kleck, de Santok, de Volhynie, de Rügen). Notre „urbanisme" promitif témoigne de formes déjà mûres incontestablement, notamment pour les fortifications (par. ex. les constructions puissantes et originales, en bois, des fortifications de Gniezno). Les découvertes des premiers temps de l’histoire, préromanes et romanes (YVuwel, rotonde des saints Fé l ix et Adauct, c a thédrale de Boleslas Chrobry, premier château en maçonnerie) ont modi f ié les anciennes opinions sur l’art de la construction dans notre pays, elles ont fait ressortir les relations avec les Tchèques ainsi que les traditions du pays des Vislaniens. Ont témoigné du niveau élevé de nos constructions et de notre sculpture de l’époque du roman, les dé couvertes des conservateurs à Cieszyn (rotonde), à l’église de st. André à Cracovie, les extraordinaires résultats des recherches opérées à l’église de Strzelno, au couvent de Tvniec et à l’église de Miechów. L’étude des parties gothiques du Wawel, la mise à nu de la plus riche construction gothique dans la cathédrale de Poznań, les travaux entrepris à Szydłów et à Wrocław ont grandement élargi nos jugements sur l’art gothique. Pour ce qui est de la peinture, les découvertes faites lors de la conservation du maître-autel de Wit Stwosz ont enrichi nos connaissances dans ce domaine de l’art gothique en Pologne. La découverte des peintures des églises ruthenes de Sandomir, Lublin et Wiślica, sont d’une importance fort grande pour la peinture (lu XV-e s. Les problèmes de la renaissance ont été traités sur un plan beaucoup plus étendu à la suite des découvertes opérées au Wawel, à Zamość et, dernièrement, au château de Pieskowa Skala. Grâce à la d é couverte (les fresques de Mogila (Stanislas Samostrzelnik) l ’individualisme émi nent de la peinture polonaise au temps de la renaissance a été mis en évidence. Bien d ’autres découvertes du domaine de la polychromie des XVII-e et XVII I-e s. ont enrichi la science; les collections privées ayant été rendues accessibles, grâce au travail des conservateurs, on a ainsi acquis les bases d’une étude poussée du portrait en Pologne au XVI l -e s. Le vif intérêt apporté par les conservateurs au problème de la construction en bois, a permis d’établir la genèse et le déve loppement du type polonais d’églises en bois. A la lumière de ces faits, il semble que les thèses énoncées au début de cet article soient 'suffissamment appuyées . Il faut donc réserver au x travaux des conservateurs lu place qui leur convient, car ils exercent une grande influence sur la culture, portent un caractère d ’actualité et les traits d’une activité pratique.
Źródło:
Ochrona Zabytków; 1949, 1; 1-14, 67-68
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
LECH KRZYŻANIAK 1940 - 2004
POSTHUMOUS REMINISCENCES ABOUT PROF. LECH KRZYŻANIAK
Autorzy:
Chłodnicki, Marek
Powiązania:
https://bibliotekanauki.pl/articles/536818.pdf
Data publikacji:
2003
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Muzeum Archeologiczne w Poznaniu
sztuka naskalna Afryki
Opis:
Professor Lech Krzyżaniak (died on 10 July 2004) was an outstanding Polish archaeologist, museum expert, lecturer and member of numerous international organisations, including the Centre of Mediterranean Archaeology at Warsaw University, the UNESCO Executive Committee, the Polish National ICOM Committee and the International Association of Egyptologists. Since 1966 he conducted excavations in Egypt, Sudan and Algeria, contributing to studies on the onset of early agricultural civilisations in North-East Africa. Prof. Krzyżaniak was the author of more than 200 articles and three books on the last stage of antiquity in Egypt and Sudan, and made his knowledge available not only to Polish students but also at St. John’s College, Cambridge and the universities in Calgary and Berlin. In 1982 Prof. Krzyżaniak was appointed director of the Archaeological Museum in Poznań, which thanks to his initiatives and zeal became a meeting place for scientists exchanging experiences, exceptionally attractive for all those interested in archaeology as well as Polish and world culture.
Źródło:
Ochrona Zabytków; 2003, 3-4; 107
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Nie tylko art déco” Sztuka witrażowa w okresie międzywojennym Konferencja międzynarodowa, Rzeszów, 6-8 października 2011 r.
“More than art déco” The art of stained glass in the interwar period International conference, Rzeszów, 6-8 october 2011
Autorzy:
Laskowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/537633.pdf
Data publikacji:
2010
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
sztuka witrażowa
witraże
Stowarzyszenie Miłośników Witraży
konferencja Rzeszów
Nie tylko art déco
Opis:
On 6-8 October 2011, the 7th international conference on the art of stained glass was held in Rzeszów, organised once again by the “Ars Vitrea Polona” Association of Stained Glass Enthusiasts, this time in cooperation with the Centre for Contemporary Sacred Art Documentation at the Faculty of Art of the University of Rzeszów. The main theme was the art of stained glass of the interwar period. A very interesting, varied picture of Polish stained glass craft of the time emerged from nearly 30 papers presented on the topic. It confirmed the rightness of the thesis put forward in the conference’s title that back then, the Art Déco style was just one of the numerous variants of the Polish stained glass art, situated somewhere halfway between the most conservative and the most avant-garde tendencies and widely accepted by the audience of the time. The meeting in Rzeszów gathered a representative group of Polish stained glass scholars and experts (mainly from Kraków, Katowice and Wrocław), speakers from Lviv and Chicago and a few participants who have only just started their research in the field. During the conference, several theoretical and synthesis papers were presented, as well as – in most cases – papers contributing to further research, discussing selected examples of stained glass art, designers and workshops. The prevailing subjects centred around the Upper and Lower Silesia regions and south-eastern Poland, and works from the areas of Greater Poland and Pomerania were mentioned on occasion. The proceedings, held in the building of the University of Rzeszów Library, were accompanied by an exhibition in the local Art Exhibitions Bureau, entitled In statu nascendi visum and dedicated to Kraków’s stained glass artists of the second half of the 20th century, as well as a tour of places connected with the sacred stained glass art of Rzeszów and Łańcut, organised on the third day of the conference. The conference also provided an opportunity to promote new publications by its co-organisers: a book published by the Association, Witraże secesyjne. Tendencje i motywy (Art Nouveau Stained Glass. Tendencies and Motifs) (the outcome of the previous session on stained glass, held in 2009 in Łódź), and the 3rd issue of the Sacrum et Decorum academic journal of the 19th– and 20th–century sacred art, prepared by the Centre.
Źródło:
Ochrona Zabytków; 2010, 1-4; 295-300
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zagadnienie ochrony zabytków numizmatycznych
Autorzy:
Szymoński, Jan
Powiązania:
https://bibliotekanauki.pl/articles/536464.pdf
Data publikacji:
1952
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
zabytek numizmatyczny
numizmat
tezauryzowanie
moneta
krzyżówka
medal koronny
medal okolicznościowy
sztuka medalierska
Sebastian Dadler
Jan Höhn
Źródło:
Ochrona Zabytków; 1952, 1; 5-13
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ZAŁOŻENIA I PROBLEMY REALIZACJI PROJEKTU OCHRONY ZABYTKÓW STAREGO KAIRU
THE PREMISES AND PROBLEMS OF A PROJECT FOR THE PROTECTION OF THE MONUMENTS OF HISTORICAL CAIRO
Autorzy:
Rogal, Robert
Filip, Maciej
Powiązania:
https://bibliotekanauki.pl/articles/538506.pdf
Data publikacji:
2004
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
ochrona zabytków starego Kairu
zabytki Kairu
historia Kairu
„Historyczny Kair”
zabytkowa architektura arabska
Abu Az-Zahab
ochrona dziedzictwa narodowego
egipska szkoła konserwacji zabytków
sztuka arabska
sztuka koptyjska
Opis:
In 1998 an Egyptian government organisation known as the Supreme Council of Antiquities devised a “Project for the Development of Historical Cairo”. The objective of this most extensive programme in the history of Egyptian conservation consists of preserving the Old Town historical complex, included onto the UNESCO World Heritage List. The project envisages pertinent research and documentation as well as the conservation of Arabian and Coptic monuments, their adaptation for contemporary purposes together with a regulation of town planning development within Historical Cairo. The work is to be carried out by eight Egyptian conservation firms co-working with their more experienced European counterparts. Despite multiple obstacles, it has been possible to perform even such difficult and challenging tasks as the conservation of transfers of murals from the Sitt Wasilli Hous.
Źródło:
Ochrona Zabytków; 2004, 3-4; 29-41
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Skrzydła tryptyku gotyckiego w Barcicach
Autorzy:
Kowalski, Zbigniew
Powiązania:
https://bibliotekanauki.pl/articles/537288.pdf
Data publikacji:
1955
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
tryptyk gotycki w Barcicach
kościół parafialny w Barcicach
skrzydła tryptyku w Barcicach
tryptyk ze Zwiastowaniem
polska sztuka gotycka
Źródło:
Ochrona Zabytków; 1955, 2; 125-131
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Informacje UNESCO
Autorzy:
Lenard, B.
Powiązania:
https://bibliotekanauki.pl/articles/535329.pdf
Data publikacji:
1970
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
międzynarodowy słownik dyplomów uniwersyteckich
album „Sztuka i życie”
Międzynarodowy Uniwersytet Sztuki w Wenecji
konserwacja florenckiej broni
komputer w służbie archeologii
Nubia
Źródło:
Ochrona Zabytków; 1970, 1; 64-65
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
DISEGNO-RYSUNEK. U ŹRÓDEŁ SZTUKI NOWOŻYTNEJ Materiały z sesji naukowej w Toruniu, 26-27 X 2000, pod red. Tadeusza J. Żuchowskiego, Sebastiana Dudzika, seria „Sztuka i Kultura”, II, Wyd. Uniwersytetu Mikołaja Kopernika, Toruń 2001, s. 236, il. cz.-b. i barw.
DISEGNO -DRAWING. AMONG THE SOURCES OF MODERN ART Material from a Scientific Session, Toruń 26-27 October 2000, ed. by Tadeusz J. Żuchowski, Sebastian Dudzik, series ”Sztuka i Kultura”, II, Wyd. Uniwersytetu Mikołaja Kopernika, Toruń 2001, 236 pp., black-and-white and colour ill.
Autorzy:
Bugalska, Ewa Karolina
Powiązania:
https://bibliotekanauki.pl/articles/537628.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
'SZTUKA I KULTURA'
DISEGNO
DUDZIK SEBASTIAN
ZUCHOWSKI TADEISZ J.
Opis:
In 2001 the Mikolaj Kopernik University in Torun started publishing the 'Sztuka i Kultura' (Art and Culture) series, edited by Prof. Tadeusz J. Zuchowski and Sebastian Dudzik, and containing material from scientific sessions about widely comprehended modern art and its role in European culture. Up to now, the series has included five volumes. The reviewed volume presents reflections on drawing and its significance in assorted periods, especially in Italian art of the sixteenth and seventeenth century when drawing, given the Italian name of 'disegno', gained a special rank and was perceived as a symptom of the artist's invention and an inauguration of the creative process. The authors discussed various problems connected with drawing, its etymology in various European languages, meaning in Byzantine art, the mediaeval project and architectural draughtsmanship. The majority of the deliberations concerns the role played by drawing in modern European art, in which it gained a prominent place in the treatises and writings of the theoreticians of the Italian Renaissance who conceived it as the foundation of all the arts and the focus of the intellectual work of the artist. The Italian term 'disegno', with its Latin provenance, became a synonym of 'invenzione'. The emergence of the anatomical drawing, as well as the preparatory and completed composition drawing became the reason why draughtsmanship no longer possessed merely a utilitarian character. It was now treated as an independent work of art, and became the object of developing patronage and the collection movement. The reviewed book considers the connections between drawing and graphic art in Italian art from the sixteenth to the eighteenth century, seventeenth century art in Silesia, and the links between drawing and painting in Venetian art critique of the seventeenth century. In a conclusion summing up the session Zygmunt Wazbinski asserted that the articles do not exhaust all the problems associated with drawing, described by him as the 'motor force of European art' and 'the greatest adventure in West European art'. The articles, supplemented with an extensive bibliography and interesting footnotes, comprise valuable material for further reflections on drawing and its role in the history of European art.
Źródło:
Ochrona Zabytków; 2006, 4; 114-119
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
SZTUKA KONSERWACJI I RESTAURACJI THE ART OF CONSERVATION AND RESTORATION Red. Iwona Szmelter i Monika Jadzińska, Przedsiębiorstwo Wydawnicze Rzeczpospolita SA, Międzyuczelniany Instytut Konserwacji i Restauracji Dzieł Sztuki Akademii Sztuk Pięknych w Warszawie i Krakowie, Warszawa 2007
SZTUKA KONSERWACJI I RESTAURACJI (THE ART OF CONSERVATION AND RESTORATION) Ed. by Iwona Szmelter and Monika Jadzińska. Publisher: Przedsiębiorstwo Wydawnicze Rzeczypospolita SA. Co-publisher: Międzyuczelniany Instytut Konserwacji i Restauracji Dzieł Sztuki Akademii Sztuk Pięknych w Warszawie i Krakowie, Warszawa 2007
Autorzy:
Rouba, Bogumiła J.
Powiązania:
https://bibliotekanauki.pl/articles/537451.pdf
Data publikacji:
2007
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Cesare Brandi
koncepcja Brandiego
Sztuka konserwacji i restauracji
wspołczesny rozwój metod badawczych
podstawy polskiej szkoły konserwacji i restauracji
Opis:
His publication, with the subtitle: Cesare Brandi (1906-1988), jego myśl i debata o dziedzictwie. Sztuka konserwacji-restauracji w Polsce (Cesare Brandi /1906-1988/, His Thought and the Heritage Debate. Art of Conservation-Restoration in Poland), contains opinions presented at a conference held under the same title at the Museum Palace Orangery in Wilanow on 5-6 October 2007. The collection documents an important event and considers the theoretical and practical achievements of Polish and European conservators; at the same time, it is part of the worldwide celebrations of the hundredth anniversary of the birth of the eminent Italian scholar, and discusses his accomplishments and their significance for the contemporary protection of the cultural heritage. The four parts of the book deal with various aspects of conservation-restoration, introduced by Prof. Iwona Szmelter. The authors of the first part analyse the role played in Polish conservation-restoration by the conceptions launched by Cesare Brandi. The second group of articles considers contemporary problems and challenges, which include, i. a. modern research and conservation techniques, new forms of heritage protection, and innovative forms of communication with society as regards this particular domain. Successive material pertain to the past and present of Polish conservation-restoration and the outstanding authors of Polish academic conservation centres, Brandi’s contemporaries. The final part delves into essential conservation theories and their references to praxis – concrete cases, complexes of monuments, and the activity of teams of experts. The presented studies testify to the close connections between conservation-restoration and assorted disciplines of the arts, exerting a prominent impact on the further fate of historical monuments.
Źródło:
Ochrona Zabytków; 2007, 2; 117-120
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
SZTUKA NA KORZE PISANA MATERIAŁY, TECHNIKI, KONSERWACJA AUSTRALIJSKIEGO MALARSTWA NA KORZE
ART ON BARK MATERIAL, TECHNIQUES AND CONSERVATION OF AUSTRALIAN PAINTING ON BARK
Autorzy:
Tworek-Matuszkiewicz, Beata
Powiązania:
https://bibliotekanauki.pl/articles/536787.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
AUSTRALIAN PAINTING ON BANK
CONSERVATION
Opis:
Conservation of the Australian Aboriginal bark paintings is a relatively new field. Bark paintings can be found in many museums and galleries in the world, but their unique properties and related preservation issues are researched in depth by Australian conservators. Conservation Department at the National Gallery of Australia has been actively involved in issues relating to the conservation of Aboriginal bark paintings for 20 years. Looking after the bark paintings collection is complicated by their unique structure and their cultural significance so different to any other paintings found in museums. The concept of material permanence found in European art tradition was, until relatively recently, not a part of Aboriginal experience. The prevailing environmental conditions and the inherent properties of materials used for bark paintings made them quite transient objects in their original environment and cultural context. Although a lot of time and skill was devoted to creating these objects, they were quite ephemeral and were not designed to last. It is only relatively recently that Aboriginal art has entered the Western art market and thus the concept of permanence and longevity has become an important issue for Aboriginal artists. The materials used for bark paintings include a sheet of bark (most commonly from Stringy bark Eucaliptus Tetradonta), naturally occurring, mostly mineral pigments (red, white, black, and yellow), and binders. It is only the binders which changed in the last 30 years, when Western art practices made their influence on Aboriginal bark paintings tradition. This involved a substitution of natural binders such as orchid juice or turtle eggs by the readily available, synthetic materials such as PVA (commonly in the form of a wood-glue Aquadehere). This substitution brought about an aesthetic change in the appearance of the painted surface - from a relative matte, porous paint made with natural, weak binders, to a shiny, cohesive, dense layer apparent in many later paintings. Preservation of bark paintings, as practiced by museum and gallery conservators is heavily based on the respect for the paintings and their cultural background and a thorough understanding of their structure and composition. The “rules” governing the extent of conservation treatments of bark paintings are different than those of European paintings. All conservation treatments are constrained by professional ethics and the respect for the original. They are limited to the least necessary interference, which aims to maintain the present condition of the painting. It is accepted by conservators, that the original painting should not be compromised by any cosmetic treatments (such as restoration). Most conservation problems related to bark paintings come as a result of the inherent properties of materials and techniques of their manufacture. For example, a very typical problem of bark support bowing and warping stems from the tendency of bark – as a part of a tree trunk – to return to its natural, cylindrical shape. The problem of cracking and splitting of the bark – apparent in many paintings – results from the bark’s natural movements in response to the changes in relative humidity of the environment. Frequent and rapid fluctuations in moisture levels bring about high stresses in the wood structure, which are released by cracking and splitting. There is little that can be done to rectify this problem once it occurs. Preventive steps can be taken which involve maintaining stable environmental conditions during storage and display, and not allowing the damage to occur or becoming worse. Another common problem visible in many paintings regardless of their age is the instability of the paint layer apparent by flaking paint and the resulting losses. There are many factors, which influence the longterm stability of the paint layer. They include inherent properties of the particular pigment used, artist’s technique of paint preparation, and the resulting paint behaviour, and environmental conditions to which the painting was subjected during its life. The treatment stabilising the paint involves choosing an appropriate agent, which when carefully introduced under each flake, adheres the lifting area back to the bark support. This very time consuming treatment is only carried out locally. There is no effective and ethically acceptable preventive treatment, which can be applied to a paint layer to prevent possible damages in the future. Powdering paint can be treated using an ultrasonic mister. This method allows loose pigment particles to be re-adhered without being physically disturbed. Some owners and collectors spray bark paintings with various “fixatives” in attempt to ensure the stability of the paint. The materials used for such treatment are frequently unstable, and in time show themselves signs of ageing, such as yellowing, cracking or lifting. Once applied to the paint, these “fixatives” cannot ever be removed and therefore significantly contribute to the deteriorating condition of the painting. It is most important to realize that good preventive or housekeeping measures are essential in caring for bark paintings. They are best stored flat and protected from dust to prevent any loss of paint layer and dust accumulation on the surface. The methods of displaying bark paintings are quite different to the usual practices in art galleries, as they aim to present the paintings without imposing Western European traditions upon these unique objects. Unlike European paintings, paintings on bark in the collection of the National Gallery are not framed, but simply rested on brackets or shelves and leaned against the wall. Seriously deteriorated paintings can be displayed horizontally or at an angle so to minimize the risk of any further damage. Preservation of bark paintings is a developing and interesting field. It requires finding new approaches and solutions to all aspects of their care, often stretching and altering the common museum practices. It also requires an understanding from conservators, who are confronted with some unusual concepts in treatments, exhibition presentation or transportation systems. This gradual process of evolution in appreciation will bring about a new, better level of understanding Aboriginal bark paintings as a unique art form. Transl. by author
Źródło:
Ochrona Zabytków; 2006, 3; 55-71
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 39

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