- Tytuł:
-
Konserwacja malowidła plafonowego Sali Książęcej zespołu klasztornego w Lubiążu
RESTORATION OF THE PAINTED CEILING IN THE SO-CALLED „PRINCES’ HALL” OF THE MONASTERY AT LUBIĄŻ - Autorzy:
-
Bielecki, Ryszard
Romanowski, Tadeusz - Powiązania:
- https://bibliotekanauki.pl/articles/539578.pdf
- Data publikacji:
- 1975
- Wydawca:
- Narodowy Instytut Dziedzictwa
- Tematy:
-
zespół klasztorny w Lubiążu
malowidło plafonowe w Lubiążu
Krystian Filip Bentum
Pałac Opatów
konserwacja plafonu z Pałacu Opatów
dublowanie kwater plafonu - Opis:
- The authors presented the results of restoration carried out on the painted ceiling adorning the „Princes’Hall” in the palace of abbots within the monastery site at Lubiąż, Wroclaw voivodship. The abbot’s palace is at present adapted for the use of the National Museum, Wroclaw. The painting under discussion was executed in 1737 by a Dutch artist, Christian F. Bentuma with oil paints laid on the bolus ground layer brought on to the canvas. The whole comprises ten sections the total area of which amounts to 296.3 sq. metres and its artistic composition is formed of numerous human figures representing the Apotheosis of the Holy Faith containing a highly complicated illustrative programme. Prior to strating the restoration it has prove that the convas constituting support is in extremely poor condition and as a result of high amplitudes of temperatures prevailing within the room it exhibited large slackening areas and undulations and, in addition, was seriously decayed by the rainfall water which was formerly penetrating through the roof. Numerous holes and cuts were found in the canvas and in the painted layer several swellings as well as crackings and whitenings of the original varnish. Before the basic restoration the painting was dismantled and its individual sections lowered by the simultaneous use of four ropes. Within the next step of restoration they were lined with linen canvas having the structure similar to that of original canvas, their front and rear surfaces mechanically cleaned whereas the losses filled. Also all the weakened areas were covered with a mass prepared from bee-wax and gum turpentine. Then the cross stretching was applied, the sections fastened to stretchers and the losses retouched by stippling. As the ground for retouching the varnish with 5 % addition of linseed oil was used and the retouches were carried out with the „Rembrandt” oil paints laid on the oil-resin binder.
- Źródło:
-
Ochrona Zabytków; 1975, 1; 45-55
0029-8247 - Pojawia się w:
- Ochrona Zabytków
- Dostawca treści:
- Biblioteka Nauki
Artykuł