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Wyszukujesz frazę "Art art" wg kryterium: Wszystkie pola


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:
Wybrane aspekty ekonomiczno-prawne instytucji tzw. art rentalu
Selected economic and legal aspects of the art rental institution
Autorzy:
Gwardzińska, Żaneta
Powiązania:
https://bibliotekanauki.pl/articles/539294.pdf
Data publikacji:
2015
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
art rental
muzeum
dobra kultury
dzieła sztuki
wystawy czasowe
czasowy wywóz zabytków
rynek sztuki
podatki
museum
culture goods
works of art
temporary exhibitions
temporary export of historic objects
art market
taxes
Opis:
The issues discussed in this article concentrate on selected legal and economic aspects of the art rental institution. Civil Code regulations do not contain a specific art rental contract. It is shown in practice that temporary loans of historic objects (or, in a broader sense, culture goods) take place on the basis of a loan contract, leasing contract or a commodate. What is worth our attention is the fact that the art rental institution should be approached on two layers. The first one includes temporary loans of historic objects for display purposes in Poland, the other represents the promotion of the Polish culture abroad and participation of Polish historic objects in foreign exhibitions. From an economic point of view, the art rental services market is not identical with the art market. Consumers of these two markets differ greatly from one another, thus, they cannot be classified in conjunction. The market analysis carried out in this study indicated an increase in the number of companies specialised in temporary loans of historic objects, which allows us to speculate that there is certain demand for a given service. Is it true that a trend consisting in temporary loans of works of art for decorative purposes has found its way to Poland?
Źródło:
Ochrona Zabytków; 2015, 2; 153-162
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
AUTENTYZM W SZTUCE WSPÓŁCZESNEJ
AUTHENTICITY IN CONTEMPORARY ART
Autorzy:
Jadzińska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/536340.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
AUTHENTICITY
CONTEMPORARY ART
MODERN TECHNIQUES OF CONSERVATION
Opis:
Authenticity is one of the most prominent factors determining the value of an art work as well as conservation theory and praxis. It exerts prime impact on defining decision strategies, and the significance, preservation, exposition and conservation-restoration of a given work. It also determines the form in which it will be passed on to future generations. In the past, criteria applied for assessing authenticity underwent a number of changes, and by the twentieth century they assumed a form defined in assorted codes of conservation ethics and procedure. Authenticity, however, is not an absolute and constant value, but succumbs to perennial transformations and reflects new truths and criteria. The article attempts to answer these questions within the domain of select problems and upon the basis of most recent international accomplishments. Philosophical premises act as a point of departure for a discussion on the conditions of the preservation of the authenticity of a contemporary art work, with the authoress considering the authenticity of matter, conception and context as well as differentiated approaches to the protection of old art according to the principles of technological correctness. Other questions involve the specificity, techniques and technology of present-day art and its impact on preservation and permanence. The presented reflections pertain to the uniqueness of the conception of a work of art, which can be detected by studying not only its structure but predominantly the artist's intentions. Just as important is the establishment of the context of space, place, culture or history. Attention is drawn to the necessity of distinguishing the complexity of particular, haptic-optic elements of the work of art and their mutual relations, which leads to the preservation of inner unity. The assorted problems are illustrated with examples of Polish and world art in whose cases the comprehension of authenticity was neither obvious nor unambiguous, and frequently resulted in falsifying the original message. Finally, the article examines the newest world tendencies and paths of conservation and protection, which designate the tasks, methods, forms and purposes of ventures intent on preserving the modern work of art together with 'in the full richness of their authenticity'.
Źródło:
Ochrona Zabytków; 2006, 4; 33-48
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problemy prawnej ochrony zabytków ruchomych sztuki sakralnej
LEGAL PROBLEMS INVOLVED IN THE PROTECTION OF MOVABLE MONUMENTS OF SACRAL ART
Autorzy:
Pruszyński, Jan Piotr
Powiązania:
https://bibliotekanauki.pl/articles/535635.pdf
Data publikacji:
1982
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
prawna ochrony zabytków ruchomych sztuki sakralnej
zabytki ruchome sztuki sakralnej
ochrona dzieł sztuki sakralnej
podstawy prawne ochrony dóbr kultury
Ochrona zabytków sztuki kościelnej
Opis:
During the 2nd World War Polish churches suffered great damage due to regular plunder by the Nazists. The author discusses regulations of the Penalty Code and Law on the protection of the cultural property and on museums with regard to robberies of works of art in the recent years. He quotes and compares recommendations of the Instruction of the Polish Episcopate on the protection of monuments of art and trends of the development of sacral art since 1966. Attention is paid to the fact that according to the Instruction, church administrators are not owners but only guardians and patrons of works of art found in the buildings that are under their care. Post-consiliar liturgy, i.e. turning the altar round to the congregation, has resulted in an extreme desire to modernize church interiors, which quite often was, against the idea of monuments protection. This, in the author’s opinion, is a misunderstanding, as the church law clearly opposes the introduction of any shoddy things into the decor of sacral interiors. Museum-like church interiors offer much temptation for thieves. Therefore, it is an urgent task to draw detailed inventories describing particular works of art in such a way that the church administrator could know what he possesses and what he is to protect on the one part, and on the other, to facilitate for himself and prosecution bodies to recognize and to recover robbed works of art. All works of art in sacral buildings should be put into a register of voivodship monuments conservator, which ensures their legal protection and — in the case of outstanding artifacts — financial aid of the state for their conservation. The author emphasizes the fact that the clergymen should be made aware of high cultural values of works of art when they are still students at seminars. The full knowledge of the cultural value of monuments and, consequently, care and their protection, are the best guarantee of its safe-guarding against robbery and destruction.
Źródło:
Ochrona Zabytków; 1982, 3-4; 217-219
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:
NIEZWYKŁE ZNAKI: TEFILIN I MEZUZA – WYRAZEM PIĘKNA I BOGACTWA SZTUKI ŻYDOWSKIEJ
THE OUTSTANDING SYMBOLS: 'TEFILLIN' AND 'MEZUZOT' - EXPRESSION OF BEAUTY AND VARIETY OF JEWISH ART
Autorzy:
Kozielec, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/538527.pdf
Data publikacji:
2007
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
'MEZUZOT'
'TEFILLIN'
JEWISH ART
PAPER CONSERVATION
Opis:
Apart from being Jewish sacred objects, the 'tefillin' and 'mezuzot' are outstanding examples of the crafts. They are made of fine material, and each stage of the production takes a long time and requires special attention. Every part is symbolic and has a special meaning. 'Tefillin' and 'mezuzot' demand special care and environmental conditions. Their main enemies are water, dampness, sunlight, heat, microbes and insects, as well as mechanical factors causing damage during use. Since they are often and easily damaged, they are subjected to restoration. Conservation and restoration should be consulted with rabbis owing to the fact that only material from 'clean' animals can be used; each element should be preserved without any change to its original symbolic and significant form.
Źródło:
Ochrona Zabytków; 2007, 1; 53-66
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
Tytuł:
SZTUKA RUCHOMEGO OBRAZU. OCHRONA, KONSERWACJA I REKONSTRUKCJA W DOBIE MEDIÓW CYFROWYCH
THE ART OF THE MOVING IMAGE. PROTECTION, CONSERVATION AND RECONSTRUCTION IN THE ERA OF DIGITAL MEDIA
Autorzy:
Wysocka, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/535387.pdf
Data publikacji:
2007
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
AUDIO-VISUAL & DIGITAL MEDIA PROTECTION
obraz elektroniczny
cyfryzacja sztuki
video art.
ARPANET
Internet
technologie cyfrowe
nowe media
konserwacja sygnału wideo
konserwator obiektu elektronicznego
Opis:
The art of conservation has been forced to face entirely new challenges. The sort of art that so far has kept its distance from official circulation, is being intentionally collected, is entering the domain of museum space, and, as a consequence, is becoming the object of the concern expressed by art conservators. Requirements and problems associated with the conservation of audio-visual and digital objects differ considerably from the needs of traditional archival material and monuments of art. The magnetic tape, in contrast to, e. g. the film tape, does not contain traces of the process, which had produced its information structure. Images recorded on magnetic tape are not directly accessible and remained encoded. The characteristic feature of the digital media is a still smaller 'material quality coefficient'. New dilemmas are also created by the interpretation of new media objects. Another noteworthy fact is the great reduction of the period of the durability of the carriers as technology progresses. A different problem involves the constant outdating caused by the rapid development of audiovisual technologies. At present, the fundamental challenge entails the creation of a conception of long-range protection of the new media, and the storage of resources in a world governed by the harsh rules of the market. A conservator or an archivist will not delay the outdating of audio-visual technologies, and does not have any impact on the trend of their growth. He is also incapable of improving the physico-chemical properties of the carriers. It will become imperative to cooperate closely with specialists representing informatics, physics or electronics. Only by entering these new domains one can guaranteed a chance to protect and preserve the new variety of monuments of culture. Obviously the protection of audiovisual collections calls for research and documentation. In the case of valuable magnetic tapes it is crucial to ensure suitable storage conditions. Successive prevention entails cyclical copying of master tapes onto new carriers, prior to the appearance of the first symptoms of disintegration. Next to the heretofore-used analog formats of the master tapes , archives are gradually selecting digital tape formats or keep valuable video material on hard disks.The development of informatics technologies is accompanied by the possibility of a digital reconstruction of the moving image. The software is addressed primarily to the 'digital intermediate' industry and archival films, but can be also applied for the reconstruction of valuable video material. All these solutions are still in the experimental phase and are not widely applied. It is not surprising that neither conservation theory nor praxis can keep up and we are only beginning to learn how to put them to use. The obliteration of the concept of the original and copyright protection causes further anxiety. The above issues must be resolved rapidly if digital imagery is to become part of conservation praxis and institutions protecting art are to become capable of treating their collections suitably.
Źródło:
Ochrona Zabytków; 2007, 3; 17-34
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ochrona zabytków versus rynek sztuki – między Scyllą a Charybdą?
Preservation of artefacts vs the art market – between Scylla and Charybdis?
Autorzy:
Szafrański, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/23352232.pdf
Data publikacji:
2023
Wydawca:
Narodowy Instytut Dziedzictwa
Źródło:
Ochrona Zabytków; 2023, 2; 115-124
0029-8247
2956-6606
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Degradation, conservation et restauration de l’oeuvre d’art", R. H. Marijnissen, Bruxelles 1967 : [recenzja]
Autorzy:
Szyszko, Władysław
Powiązania:
https://bibliotekanauki.pl/articles/539053.pdf
Data publikacji:
1970
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
„Niszczenie, konserwacja i restauracja dzieła sztuki”
retusz
patyna
Źródło:
Ochrona Zabytków; 1970, 4; 332-334
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„CESARE BRANDI (1906-1988), JEGO MYŚL I DEBATA O DZIEDZICTWIE. SZTUKA KONSERWACJI-RESTAURACJI W POLSCE” Międzynarodowa konferencja naukowa Warszawa, 5-6 października 2007 r.
“CESARE BRANDI (1906-1988), HIS THOUGHT AND EUROPEAN DEBATE IN THE XX CENTURY AND THE ART OF CONSERVATION-RESTORATION IN POLAND” International Conference, Warsaw, 5-6 October 2007
Autorzy:
Szmelter, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/536373.pdf
Data publikacji:
2007
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
BRANDI CESARE (CONTERENCE ON CONSERVATION'S ART)
CesareBrandi
konferencja naukowa
trendy w konserwacji
Opis:
Conference titled “Cesare Brandi (1906-1988), His Thought and European Debate in the XX Century and the Art of Conservation-restoration in Poland” took place in Wilanów Palace on October 5-6 2007. The goal of the conference was revisiting of theory and good practice of conservation-restoration of the cultural heritage. The exhibition which attendance upon conference showed more than 100 panels connected with Cesare Brandi legacy and history and the accomplishments of 60 years of Polish training of conservators – restorers in three academic centers – in Warsaw, Cracow and Toruƒ, presented by them. Organizers of conference were Interacademy Institute for Conservation-Restoration of Works of Art, Wilanow Palace and Polish professors engaged in UE Project: “Cesare Brandi (1906-1988), His Thought And European Debate In The XX Century”. Three new books were related to conference: - “Sztuka konserwacji-restauracji / The Art of Conservation and Restoration”, ed. I. Szmelter, M. Jadzińska, contents preprints with abstracts in English; - Cesare Brandi “Teoria Restauracji”/Cesare Brandi “Theory of Restoration”, translated by M. Kijanko; - “Conservatio Creatio Aeterna Est” – reprinted act of Minister of Culture related to Preservation of Heritage from 1920, with English translation. Translated by Iwona Szmelter
Źródło:
Ochrona Zabytków; 2007, 2; 8-11
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
PRZESTĘPSTWO ZBYCIA FALSYFIKATU. KOMENTARZ DO ART. 109B USTAWY O OCHRONIE ZABYTKÓW I OPIECE NAD ZABYTKAMI
THE CRIMES OF SELLING A FORGERY COMMENTARY TO ARTICLE 109B OF THE STATUTE ON THE PROTECTION AND CARE OF HISTORICAL MONUMENTS
Autorzy:
Gadecki, Bartłomiej
Powiązania:
https://bibliotekanauki.pl/articles/538512.pdf
Data publikacji:
2008
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
PROTECTION OF HISTORICAL MONUMENTS - STATUTE
zbycie falsyfikatu
art. 109B ustawy o ochronie zabytków
fałszerstwo zabytków
prawo własności przemysłowej
majątkowy interes nabywców
legalna definicja zabytku
Opis:
Up to 2006 combating the forgery of historical monuments applied article 286 § 1 of the penal code (the crime of fraudulence). The statute of 24 February 2006 on changing of the statute on the protection and care of historical monuments added, i.a. article 109b: whoever sells a movable object as a movable historical monument or a historical monument as another historical monument, knowing that they are forged or remodelled, is subject to a fine, limitation of freedom or imprisonment up to two years. The presented article is a commentary on the titular crime.
Źródło:
Ochrona Zabytków; 2008, 2; 88-92
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Badania konserwatorskie potwierdzeniem hipotezy historyka sztuki
LES RECHERCHES DU CONSERVATEUR CONFIRMENT L’HYPOTHÊSE D’UN HISTORIEN D’ART
Autorzy:
Flik, Józef
Powiązania:
https://bibliotekanauki.pl/articles/537267.pdf
Data publikacji:
1964
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
obraz sztalugowy z widokiem Torunia
wadliwy dublaż
datowanie obrazu
Toruń
Opis:
En 1957 l’atelier de conservation du Musée de Toruń entreprit la conservation d ’uin tableau représentant la ville de Toruń vue du Nord. Ce tableau fut considéré comme la peinture de chevalet la plus ancienne représentant cette ville, car sur la banderole il y avait l’inscription Thorn von Norden et la date 1670. Pourtant le docteur Zygmunt Kruszelnicki a trouvé cette date douteuse et a fait part de son opinion dans son ouvrage sur les anciennes vues de Toruń, publié en 1957. En se basant sur les modifications réalisées dans de nombreux bâtiments, reconstruits à la suite des dégâts causés par le siège Suédois de 1703, l’auteur de cet ouvrage trouve que ce tableau date tout au plus de la moitié du XVIIIe siècle. Le Musée de Toruń possède aussi un dessin par un artiste inconnu, représentant la même vue de la ville, mais provenant de la seconde moitié du XVIIIe siècle, ce qui est démontré par l’apparition de l’église protestante qui fut construite en 1753—56. Cette église n’apparait point sur le susdit tableau, donc cela semblerait prouver que la peinture avait été exécutée plus tôt que le dessin, probablement vers la moitié du XVIIIe siècle. Cependant au cours de la conservation, après avoir enlevé les parties repeintes, on a constaté que la banderole authentique ne portait point la date 1670 et l’on a découvert la façade de l’église protestante recouverte par des adjoinctions ultérieures. C’est ce fait, ainsi que la représentation de l’église de Notre Dame avec un double toit (à deux inclinaisons) qui a remplacé l’ancien toit triple seulement en 1798, nous obligent à fixer la date du tableau en question à la fin du XVIIIe siècle ou même au début du XIXe. Ainsi les études des conservateurs ont confirmé l’hypothèse de l’historien d’art en permettant d’établir que le tableau présentant le panorama de la ville de Toruń a été peint au plus tôt vers la fin du XVIIIe siècle.
Źródło:
Ochrona Zabytków; 1964, 3; 49-52
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pracownia konserwacji w Muzeum Sztuki w Düsseldorfie
L’ATELIER DE CONSERVATION DU MUSÉE DE L’ART À DÜSSELDORF
Autorzy:
Althöfer, Heinz
Powiązania:
https://bibliotekanauki.pl/articles/535284.pdf
Data publikacji:
1969
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Muzeum Sztuki w Düsseldorfie
działalność pracowni konserwacji w Muzeum w Düsseldorfie
Opis:
F o n d é a u d é b u t d u siècle e t a g ra n d i en 1961, l ’a te lie r de co n se rv a tio n du Musée de l ’A rt à D ü sse ld o rf s ’occupe de la c o n se rv a tio n de la p e in tu r e -у comp ris les o eu v re s du X X e siècle. En d eh o rs de la c o n se rv a tio n l ’a te lie r e n tr e p re n d l ’in s tru c tio n des v o lo n ta ire s, la d o c um en ta tio n des tr a v a u x e t la re c h e rch e s c ie n tifiqu e co n c e rn an t en p a rtic u lie r le p ro b lèm e local de Dü sseld o rf — les moyens de la co n se rv a tio n des o eu v res exposées à in flu en c e de l ’a tm o sp h è re s a tu ré e de combustion. L ’a te lie r est m u n i d’un éq u ip em e n t moderne.
Źródło:
Ochrona Zabytków; 1969, 4; 304-308
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konserwacja dzieł sztuki w Polsce
THE CONSERVATION OF WORKS OF ART IN POLAND
Autorzy:
Zalewski, Władysław
Powiązania:
https://bibliotekanauki.pl/articles/538128.pdf
Data publikacji:
1982
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
konserwacja dzieł sztuki w Polsce
ratowanie zabytków w Polsce
rozwój konserwatorstwa w Polsce
stan polskiego konserwatorstwa
Opis:
The author is assistant professor in Monuments Conservation Department of the Academy of Fine Arts in Cracow, head of the section of wall painting preservation. He evaluates the development of conservation activities, their structure and organization of conservation training in the period from 1945 on. The period is divided into three distinctive stages. A characteristic feature of the first period lasting to the end of the fifties was the undertaking of enormous work resulting from war destruction. A leading role was played then by conservators educated in the pre-war period, assisted by young graduates from three higher schools of conservation. It was at that time that the most outstanding works of ancient art were brought for conservation. It was also then that the first teams in monuments conservation workshops emerged. The author describes the sixties as a period of a particularly intensive development of the discipline — both in the field of training young conservators, in setting-up and equipping new workshops, in significant progress in conservation techniques and means. Also at that time the leading role in higher schools and other workshops was overtaken by a young generation of professionalists formed in the fifties. A marked progress could be noticed then in technological studies. Conservation practice got linked very closely with exact sciences; contacts with foreign centres got also increased. The seventies are the period of stabilization. There was a marked increase in the number of research and didactic workers in higher schools. At the same time there arose new problems associated with conservation. Large work on the renewal of historic old town complexes brought about a new demand for investigators of plasters, painting layers and opened broad venues for conservation work in renewed buildings. Apart from that, there also took place a noticeable expansion of Polish conservators abroad; quite a lot of them left the country, both in teams associated within monuments conservation workshops and in private teams or even individually. More and more young people are applying to higher schools, as the profession of the conservator of works of art has become very attractive. There can be seen a clear disproportion between Polish requirements for qualified personnel and possibilities of higher schools. The attempts to train conservation technicians have not given, in the author’s view, satisfactory results. Too great number of technicians is engaged in all serious conservation works. The third period is characterized by a gradual disappearance of the sense of professional link amongst conservators. This, i.a., is the result of a disappearance of traditional conferences and other forms of meetings that were so popular in the past years. When analyzing the nature of modern conservation measures the author makes various comments. They concern both the form and scope of the documentation accompanying conservation procedures. The author emphasizes accurately a somewhat marginal nature of conservation of works of art, which stays behind work in the field of architecture and town planning. Not without a reason the author points out a high level of work on objects of art, much higher than the one found in work on immovable monuments (of course, the author has in mind the work carried out in Poland). The author is also right in emphasizing the development and achievement of a high level of conservation training as a permanent attainment of the Polish organization of the protection of cultural property. According to the author, the most important task for the nearest few years is to maintain that high level.
Źródło:
Ochrona Zabytków; 1982, 3-4; 159-163
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł

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