Wszystkie pola: „Portret” - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Konserwacja portretów z Domu Małego Dziecka w Warszawie
CONSERVATION DES PORTRAITS DE LA COLLECTION APPARTENANT À LA MAISON DES ENFANTS DE BAS-ÂGE À VARSOVIE
Autorzy:: Puciata, Maria
Powiązania:: https://bibliotekanauki.pl/articles/535127.pdf
Data publikacji:: 1965
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: portrety z Domu Małego Dziecka w Warszawie
dobrodzieje szpitala Dzieciątka Jezus
szpital Dzieciątka Jezus
Szpital Podrzutków
Krystyna z Sanguszków Bielińska
portret Krystyny z Sanguszków Bielińskiej
królewicz Ksawery
portret królewicza Ksawerego
prymas Michał Poniatowski
portret prymasa Michała Poniatowskiego
Urszula Czermińska
portret Urszuli Czermińskiej
Dom Baudouina na Nowogrodzkiej
ks. Baudouin
Opis:: Ce communiqué présente les travaux de conservation effectués par le Laboratoire de la Peinture et le Laboratoire Central des Ateliers de Conservation des Monuments Historiques à Varsovie. Les travaux précités ont eu pour objet la conservation de 26 portraits. Cette collection présente une suite de portraits des bienfaiteurs de l’ancien Hospice des Enfants Trouvés à Varsovie, fondé sous l ’iiniitia;- ti've de l ’abbé Pierre Gabriel Baudouin.. La collection en question appartient actuellement à la Maison des Enfants de Bas-Âge à Varsovie.
Źródło:: Ochrona Zabytków; 1965, 3; 48-54
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: PORTRET MĘŻCZYZNY OLGI BOZNAŃSKIEJ. KONSERWACJA I RESTAURACJA OLEJNEGO OBRAZU NA PODŁOŻU TEKTUROWYM
PORTRAIT OF A MAN BY OLGA BOZNAŃSKA. CONSERVATION AND RESTORATION OF AN OIL PANTING ON A CARDBOARD BASE
Autorzy:: Zając, Izabela
Powiązania:: https://bibliotekanauki.pl/articles/536238.pdf
Data publikacji:: 2003
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Olga Boznańska
Portret mężczyzny
ubytki warstwy malarskiej
chromatografia gazowa
spektometria masowa
warstwa nośna
warstwa zaklejająca
warstwa olejna
Opis:: The Portrait of a Man by Olga Boznańska found its way to Poland from one of the London auction houses. The crumbling painting layer, the impurities and the dented cardboard base were caused by unsuitable storage. This situation called for immediate conservation. The first stage consisted of photographic documentation and an analysis of the painted layer binding and the composition of the layer used for gluing the cardboard. After gluing the crumbling painted layer the conservators embarked upon cleaning it and the reverse. Research intent on defining the state of the preservation of the cardboard base was conducted, and the base was reinforced and deacidifed. The painting in the cardboard passepartout was placed behind glass into the same frame which was used prior to conservation. Olga Boznańska was born on 15 April 1865 in Cracow. She studied painting in Cracow and Munich, and presented her works at exhibitions and salons held in Cracow, Warsaw, Munich, Vienna, London, Paris, Pittsburgh, Philadelphia and Venice, winning numerous prizes and distinctions. Since 1898 she lived in Paris where she died on 26 October 1940.
Źródło:: Ochrona Zabytków; 2003, 3-4; 87-93
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Portrety królewskie Daniela Schultza
LES PORTRAITS DE ROIS DE DANIEL SCHULTZ
Autorzy:: Mańkowski, Tadeusz
Powiązania:: https://bibliotekanauki.pl/articles/537856.pdf
Data publikacji:: 1949
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Daniel Schultz
portrety króla Jana Kazimierza
portret króla Michała
Opis:: L’auteur parle de la conservat'on du portrait de Michel Korybut Wiśniowiecki exécuté par Daniel Schultz, peintre de Gdańsk. Jusqu’en 1936, ce portrait faisait partie de la collection de la maison des Habsbourg à Vienne, d’où il est revenu en un format moindre. Il a été coupé de deux côtés: à gauche et en bas, à droite il a été replié à l’envers du châssis. La composition primitive a donc été déformée, car l’axe a été déplacé. Un dilemne se posait: soit cacher la partie découverte à droite, soit ajouter ce qui avait été coupé et manquait à gauche et en bas. C’est à ce dernier point que Ton s’est arrêté. Rodolphe Kozłowski s’est chargé de cette conservation; il a ajouté deux bandes de toile semblables à la toile authentique. A gauche il ne s'agissait que de menus détails, mais en bas il fallut se décider à recomposer les pieds avec leur armure et leurs éperons. On a pris pour modèle des armures analogues des collections de Dresde. Le tableau a beaucoup gagné à ces additions et est tout à fait conforme à l’intention piimitive du peintre.
Źródło:: Ochrona Zabytków; 1949, 2; 116-122, 144
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Odnalezienie zaginionego obrazu autorstwa Andrzeja Wróblewskiego pod tytułem Portret z wnętrzem podczas prac konserwatorskich przy obrazie Pejzaż górski
Uncovering of a missing painting by Andrzej Wróblewski Portrait with the interior during a conservation of an oil painting on canvas Mountain Landscape
Autorzy:: Kozik, Regina
Powiązania:: https://bibliotekanauki.pl/articles/535516.pdf
Data publikacji:: 2012
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Andrzej Wróblewski
konserwacja obrazu olejnego na płótnie
"Portret z wnętrzem"
Opis:: Recently, more than 50 years after the artist’s death, the work of Andrzej Wróblewski has been re-discovered. Exhibitions and catalogues of his works are very popular and paintings are particularly sought after. In this renaissance of Wróblewski’s art, the unexpected finding of his missing painting is a significant event. Not every day a conservator is privileged to participate in such a discovery and it is my great pleasure to describe the process in this article. From the very beginning of the conservation process on oil painting Mountain Landscape there was a strong indication, that under the thick layer of average quality painting something far more interesting is hidden. Firstly, on the back of the canvas there was a figure of a standing man (painted in the window of the stretcher), in terms of its technique and artistic value far more superior to the Mountain Landscape. Secondly, in the corner of the back there was a paper label, with a phrase: Andrzej Wróblewski, “Portrait with the interior” and information that the painting was purchased on February the 7th 1953 at the exhibition in Kraków, Poland. It was very unlikely the sticker had been placed there by accident, and if it had concerned the painting on the back, it would have been located elsewhere. Therefore, it seemed very probable that under a thick layer of landscape, there was a painting by Andrzej Wróblewski. In this article the process of uncovering of the Portrait with the interior is described in detail, the conservation methods are explained, and the inquiry into documents and catalogues that helped to authenticate the painting before the start of a risky reconstruction. In the end, the conservation of one painting by an amateur painter uncovered a missing Portrait with the interior (on the front, under the layers of paint). Additionally, the painting on the back was identified as Wróblewski’s work. Finally, visible fragments of paint layer on the edges of the canvas, on the back (hidden under the stretchers), indicates the possible existence of a third painting of the same artist.
Źródło:: Ochrona Zabytków; 2012, 3-4; 53-58
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Portrety Mikołaja Kopernika z katedry w Strasburgu i z Muzeum Okręgowego w Toruniu
THE PORTRAITS OF NICOLAUS COPERNICUS PRESERVED IN THE STRASSBOURG CATHEDRAL AND IN THE REGIONAL MUSEUM, TORUŃ, POLAND
Autorzy:: Flik, Józef
Powiązania:: https://bibliotekanauki.pl/articles/535468.pdf
Data publikacji:: 1974
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: portrety Mikołaja Kopernika
Mikołaj Kopernik
sztuka epoki Kopernika
Portret Kopernika sztrasburski
Tobiasz Stimmer
portret Kopernika z Muzeum w Toruniu
Teodor de Bry
Opis:: To the number of the most ancient images of Nicolaus Coipernieuis are to be counted a portrait painted oil on a pine wood pained by Tobias Stimmer in 1571—74, forming a part of the astronomical clock of the Strassbourg Cathedral and that at present preserved in the Museum in Toruń, coming from the end of the 16th century which, according to the author’s investigations, was executed by a Dutch artist named Marcus Geeraets on the basis of a portrait drawing once preserved in Frombork. Marcus Geeraets was for many years supplying his drawings to Theodore de Bry, an engraver, who at the end of the 16th century have executed the well-known copper plate representing the portrait of that great astronomer. Both the above-named artists can therefore be listed as the first inspirers and publishers of Copernicus images in the Netherlands, Germany and England. By means of X-raying it became possible to reveal in the Toruń portrait an underpainting which was e x ecuted much more artistically than the final version itself. As to its details this underpainting is identical with the copper plate engraving by de Bry which means that the engraver must have seen the portrait during the first stage of its execution and made use of the accurate drawing prepared by the Dutch painter. In the further course of investigations of that portrait it proved that in the 17th century it was shortened in height and that the sitter wais originally shown with his both fists visible, holding in one hand a istem of lily of the valley. As a consequence of the same X-ray investigations it was possible to etablish that the Strassbourg portrait was overpainted in 1835 basing on a copy from 1735 that was made for the Paris Astronomical Observatory from a sixteenth-century drawing then preserved in Toruń. From the attached rentgenograms it may easily be seen that in the authentic version the astronomer is portrayed with a quite different hair-do; his long hairs are straightly and freely hanging over the shoulders. Also the garment, having quite different shape of its folds, is bordered with a big, seemingly fur collar. So then, the most ancient image from Strassbourg that was, according to every probability, executed by Tobias Stimmer and the portrait from Toruń are two entirely different images differing one from another not only artistically but also technically and it must be said that that kept in the Regional Museum, Toruń As to be considered as one of considerably better quality.
Źródło:: Ochrona Zabytków; 1974, 1; 66-72
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki