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Tytuł:
"Gotyckie malarstwo ścienne w Europie środkowowschodniej" - konferencja w Poznaniu i we Wrocławiu
Autorzy:
Karłowska-Kamzowa, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/536045.pdf
Data publikacji:
1976
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
konferencja w Poznaniu 1975
gotyckie malarstwo ścienne
malowidła z Niepołomic
polskie gotyckie malarstwo ścienne
czeskie malarstwo ścienne
malowidła ścienne Śląska
Źródło:
Ochrona Zabytków; 1976, 2; 139-140
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przegląd piśmiennictwa polskiego z zakresu historii sztuki za okres od 1951 do 1954 r. (ciąg dalszy)
Autorzy:
Olszewski, A.
Powiązania:
https://bibliotekanauki.pl/articles/537116.pdf
Data publikacji:
1956
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
historia sztuki w piśmiennictwie polskim 1951-1954
malarstwo w piśmiennictwie polskim 1951-54
malarstwo polskie XIX i XX wieku
malarstwo polskie REALIZMU MIESZCZAŃSKIEGO I połowy XIX wieku
malarstwo polskie doby Oświecenia
Źródło:
Ochrona Zabytków; 1956, 3; 199-202
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
PROBLEMATYKA TECHNOLOGICZNA I KONSERWATORSKA DZIEŁ MALARSKICH XAWEREGO DUNIKOWSKIEGO
THE TECHNOLOGY AND CONSERVATION OF CANVASES BY XAWERY DUNIKOWSKI
Autorzy:
Rouba, Bogumiła J.
Arszyńska, Joanna
Doleżyńska, Ewa
Szelwach, Renata
Powiązania:
https://bibliotekanauki.pl/articles/539532.pdf
Data publikacji:
2005
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Xawery Dunikowski
malarstwo
restauracja obrazów
konserwacja
Opis:
The reason for studying the paintings by Xawery Dunikowski was the conservation and restoration of six canvases from the large set of works by this artist, conducted by the Institute for the Conservation of Paintings and Polychromed Sculpture. The examined compositions included three canvas paintings, one collage, and two paintings on plywood, featured in the Królikarnia Branch of the National Museum in Warsaw. One of the plywood paintings was executed on both sides. Despite numerous conservation undertakings performed in the course of recent years, and encompassing not only the paintings under discussion but also the whole Królikarnia collection, so far no publications has discussed the conservation, technical construction, and execution technology of works by X. Dunikowski. The purpose of the presented operations was to offer basic knowledge which in the future will facilitate all sorts of ventures focused on the conservation, restoration and prophylactic protection of the artist’s oeuvre. The research has made possible a technical and technological analysis and an examination of the state of the preservation and conservation of the works of this prolific artist. At the same time, methods which could serve as a basis for the conservation of his whole oeuvre have been devised. The selection of paintings involved an attempt at creating a set which would present damage typical for all the Dunikowski paintings. The titular conservation and restoration posed a number of problems caused primarily by the artist’s approach to his workshop. The majority of the damage is the result of an incorrect choice of material. Certain sources indicate that Dunikowski relegated all technical issues to the sidelines, and apparently was unconcerned with the durability of his works. At the very outset, therefore, we should ask about the extent to which one should interfere in cases such as this, and the range of the ensuing conservation, as evidenced by the intense discussion about the unusual appearance of the painting entitled Abstract Composition with a Skull. It would be difficult to ascertain unambiguously whether the uneven canvas around the cardboard attached with stiff glue is the effect of the lengthy impact of atmospheric factors. Equally controversial proved to be the purposefulness of gluing and supplementing damaged corners in the Portrait of a Daughter (obverse) and the Portrait of a Girl (reverse). Since the artist painted the portraits on an already damaged base, such an undertaking would not be tantamount to a restoration of the original state, but constitute a creation. Ultimately, it was decided to opt for moderation in restoring the state of the monument according to our vision of its original condition. Certain technical and aesthetic problems are posed by the exposition of this two-sided painting, since the obverse had been executed across the rectangular plywood, and the reverse – longitudinally. The above considered examples of complex problems prove that in this particular case conservation was by no means routine. This experience made it possible to once again heighten our awareness of the fact that the conservation and restoration of modern art remain an open issue, and that questions which only at first glance appear to be of minor importance actually call for individual treatment.
Źródło:
Ochrona Zabytków; 2005, 4; 47-60
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ZAMKI POMORZA, WARMII I MAZUR W MALARSTWIE I RYSUNKU ZBIGNIEWA SZCZEPANKA Wyd. Tower Press, Gdańsk 2004, album, format 39,5 x 25 cm, s. 224 + 4 nlb., il. 188
CASTLES OF POMERANIA, WARMIA AND MAZURIA IN THE PAINTINGS AND DRAWINGS BY ZBIGNIEW SZCZEPANEK Wyd. Tower Press, Gdańsk 2004, 188 pp.
Autorzy:
Malawska, Iga
Powiązania:
https://bibliotekanauki.pl/articles/536747.pdf
Data publikacji:
2004
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
zamki Pomorza, Warmii i Mazur
Zbigniew Szczepanek
malarstwo
rysunek
Opis:
The album of works by Zbigniew Szczepanek, depicting 41 castles in northern Poland, contains more than 200 water colours, gouaches, pastels and drawings executed in 1999-2003. The warm hues, reader-friendly poetic and excellent technical level of the publication render it particularly attractive. The elegant album, in hard cover and a decorative box, includes an Englishand German-language translation and a map of northern Poland with likenesses of the portrayed castles. The album ends with notes concerning the illustrations (also translated), offering data about the technique, material, and size of the compositions, as well as describing the presented fragment of a given castle and, in the case of reconstruction, the foundation for its realisation. This indubitably interesting and well-composed album is the first in a planned three-volume series about the castles of Poland. The publishers – Tower Press – ensured a meticulous edition.
Źródło:
Ochrona Zabytków; 2004, 3-4; 248-251
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
KRONIKA. Fragment malowidła późnogotyckiego z Krobi (pow. gostyński)
Autorzy:
Świechowski, Zygmunt
Powiązania:
https://bibliotekanauki.pl/articles/537748.pdf
Data publikacji:
1951
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
kościół św. Ducha w Krobi
malowidło św. Jana Ewangelisty
malarstwo późnogotyckie
Źródło:
Ochrona Zabytków; 1951, 1-2; 99
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
IDENTYFIKACJA CZERWONYCH BARWNIKÓW ORGANICZNYCH W TABLICOWYM MALARSTWIE GDAŃSKIM 2. POŁ. XV WIEKU
THE IDENTIFICATION OF RED ORGANIC DYES IN TABLE PAINTING FROM GDAŃSK (SECOND HALF OF THE FIFTEENTH CENTURY)
Autorzy:
Nowik, Witold
Olszewska-Świetlik, Justyna
Powiązania:
https://bibliotekanauki.pl/articles/536211.pdf
Data publikacji:
2004
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
malarstwo gdańskie
Laki
czerwiec polski
antrachinon
marzanna barwierska
czerwień krapowa
kraplak
Opis:
The author presented the outcome of research relating to red organic dyes applied in table painting from Gdańsk during the second half of the fifteenth century. The investigations were based on fluid chromatography HPLC combined with UV-VIS spectrometry. The results of the research demonstrated the use of a dye obtained from a plant from the Rubiaceae family, which in the majority of cases was madder (German: Krapp, Rubia tinctorium L.). Previous studies showed that the same plant was simultaneously employed for Polish table painting in Silesia. This particular type of dye brings the Gdańsk variety closer to the range of North-European tradition.
Źródło:
Ochrona Zabytków; 2004, 1-2; 71-78
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Badania technologiczne sześciu italskich malowideł ściennych z Muzeum Narodowego w Krakowie : część I
TECHNOLOGICAL EXAMINATIONS OF THE SIX ITALIC MURAL PAINTINGS NOW IN COLLECTION OF NATIONAL MUSEUM, CRACOW, PART I
Autorzy:
Korpal, Grażyna
Powiązania:
https://bibliotekanauki.pl/articles/535780.pdf
Data publikacji:
1972
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
malarstwo ścienne starożytnej Italii
malowidła pompejańskie
fresco secco
Pliniusz
Witruwiusz
teoria enkaustyki
Opis:
The su b je c t of co n sid e ra tio n s by th e au th o r, a g ra d u a te of th e High School of F in e Arts, Cracow consists in technological e x am in a tio n s of six fragm en ts of Ita lic m u ra l p a in tin g s th e age of which m ay be ap p ro x im a te ly d a ted fo r a p e rio d from th e 1st c en tu ry B.C. to th e 1st c en tu ry A.C. The above fragm e n ts of p olychromies a re coming from th e fo rm e r collection of th e C z a rto ry sk is fam ily an d according to ev e ry p ro b a b ility th e y w e re p u rch a s ed in Ita ly a t th e end of th e 19th c en tu ry . At p re s e n t th ey fo rm a p ro p e rty of National Museum, Cracow. In view of a b u n d an c e of m a te ria l p re s en ted by th e a u th o r h e r p u b lic a tio n w as divided in to two p a rts. The firs t of th em re p re s e n ts a k in d of in tro d u c tio n to e x am in a tio n s c a rrie d out. The un so lv ed up to th e p re s en t day p ro b lem of te ch n iq u e s ap p lied fo r e x e cu tio n of Roman m u ra l p a in tin g s is k n ow n in th e h is to ry of a r t u n d e r th e te rm of “d isp u te o ver P om p e ian fre sco e s”. Within a chronological system th e a u th o r has p re s e n ted th e most in te re stin g views of p a r tic u la r in v e s tig a to rs in th is question. By p re s en tin g of in d iv id u a l opinions she p o in ted to th e wide d isc rep an c ie s th a t could be en co u n te red in th e p a s t and a re still ex is tin g in opinions concerning th e te c h n iq u e s ap p lied by th e an c ie n t m a s te rs fo r th e e x e cution of m u ra l p a in tin g s. The ma in stre ss has been la id by th e a u th o r in th e p re s e n t p a r t of h e r work on th e p re s en t sta te of k nowledge re la tin g to m o rta rs , p igm en ts, b in d e rs an d v a rn ish e s in use fo r an c ie n t w a ll p a in tin g s in th e te r r ito ry of an c ien t Ita lia . The fir s t p a r t of th e p re s e n t p u b lic a tio n h aving h is to ric a l c h a ra c te r re p re s e n ts th e com p a ra tiv e m a te r ia l supplying a basis fo r co n sid e ra tio n s forming th e second p a rt. This second p a r t w ill be published in one of o u r fo rth comin g issues.
Źródło:
Ochrona Zabytków; 1972, 3; 160-169
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Technika ściennych malowideł bizantyjsko-ruskich. Część I - Przyrządzanie ciasta wapiennego i zaprawy oraz wykonywanie narzutów
TECHNIQUES APPLIED IN THE BYZANTINE — RUTHENIAN PAINTINGS PART 1: PREPARATION OF THE LIME PUTTY AND MORTAR AND MAKING THE TOPPING COATS FOR THE BYZANTINE-RUTHENIAN MURAL PAINTINGS
Autorzy:
Stawicki, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/539176.pdf
Data publikacji:
1970
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
malowidła bizantyjsko-ruskie
ciasto wapienne
Hermeneia Dionizosa
malarstwo ścienne
zaprawa wapienna
tynki monolitowe
Tipik
Opis:
In process of execution of the Byzantine-Ruthenian mural paintings the following three stages should be listed as basic: preparation of the lime putty, that of lime mortar, and the making of topping coats. The importance of all the above stages is being emphasized in all written records that have been preserved up to the present day. In addition to technological investigations the above-mentioned documents form the main source of our knowledge in the field of the painter’s techniques in use many years ago. From among the painter’s handbooks and other documents containing professional prescriptions and recommendations the oldest ones are coming from as late a time as the second half of the 16th century. Here should be named the „Tipik” by Nektariy, dated 1599 and a good deal of Russian manuscripts known under the name of „Podlinniks”. Among the Greek painter’s handbooks as the oldest one may be considered „Hermeneya” written after the year 1566. Quite a good deal of „Podlinniks” could be dated as early back as to the 17th century whereas the „Hermeneya” of Dionysos to the first half of the 18th century. The preparation of lime putty represented rather a complex and sometimes time-consuming procedure. Its main features were the mixing of lime with water, working it with the spade and the cleaning. The „Podlinniks” and particularly the „Tipik” provide a detailed description of methods used for removing of diluted salts (s.c. „emchugha”) from the lime by washing them out. The above washing process was aimed at reducing the content of harmful salts and at the same time at decreasing the binding strength of the future topping coat whicji the process had to some extent prevent its cracking. Among prescriptions included to the „Tipik” may be found an „old masters’ ” prescription that recommends the wintering of lime during the winter period and mixing the organic binders to the lime putty. The mortar was prepared from the lime putty with an admixture of suitable fillers. According to prescriptions under discussion the lime putty was mixed with the cut straw (of corn or grass) but also with tow and allowed a period of a few days for so called fermentation. The mortar of the first type served for preparing the lower while that of the latter type the upper topping coat. It was recommended in „Tipik” to add a proportion of sand to the lower layer. From among the fillers in use on the Ruthenian and Russian territories only the tow may be listed while on the Balkan and the actual territory of Turkey straw was used most commonly, and both the tow and straw in Poland. The sand admixture in varying proportions may be found in all the countries concerned. The topping coats for the Byzantine-Ruthenian paintings have underwent an evolution as result of which the s.c. monoliths containing the marble and limestone breakage and the pottery breakage most commonly used on Ruthenian territories were in time replaced by s.c. spongey plasters where in turn an organic matter was used in form of vegetable fibres. The monolithic plasters were applied in the early Byzantine period (the 8 th to the 11th century) and on the Ruthenian territories (the 10th to the 12th century). The origins of that type of plasters should be sought in Roman tradition. A ll the written sources baing in fact prescriptions of a later date list the s.c. spongey plasters only. At the execution of topping coats a careful attention was devoted to the cleaning of brickworks to be coated with the lime mortar as w e ll as to their suitable damping with water. The topping coats were thoroughly tamped and then carefuly smoothed. It was also recommended by „Tipik” to drive m ils into brickwork and, in full accordance with Cennini’s recommendations, to apply the moisture-resistant insulation where the brickworks were moist. The lime mortar was normally thrown starting from the uppermost left-side wall portions gradually moving down to the right side. The particular portions of the s.c. dayworks as a rule comprised the definite compositions. Both „Tipik” and Hermeneya” recommend the application c f the double-layer plasters the lower layer of which should be thinner while the upper thicker one. However, we know from observations made that the single-layer plasters were applied commonly enough (for example, in Macedonia and Serbia). For the Byzantine-Ruthenian paintings found on Polish territories plasters of both types were used. The thicknesses of plasters varied in different countries mainly depending upon the material used for erection of temples and the wall structure and tex tu re. They were thin on ashlars (ranging to a few m illimetres) and thicker on brickwork walls (1 to 4 cm). In addition to differences present in several types of plasters applied for the Byzantine-Ruthenian paintings quite a remarkable number of features common for both types may be named. Suitable fillers and especially the vegetable fibres furnished the plasters with strength and lasting freshness allowing the easier and longer execution of painting using al fresco technique. It were the plasters then that played decisive part in the choice of manner by means of which were executed mural paintings belonging to the Byzantine- Ruthenian tradition.
Źródło:
Ochrona Zabytków; 1970, 4; 267-278
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MAŁE POMPEJE GABINET POMPEJAŃSKI W DAWNYM MUZEUM MIEJSKIM W SZCZECINIE
LITTLE POMPEII THE STORY OF THE POMPEIAN CABINET AT THE FORMER MUNICIPAL MUSEUM OF SZCZECIN
Autorzy:
Łopuch, Maria
Powiązania:
https://bibliotekanauki.pl/articles/535643.pdf
Data publikacji:
2005
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Pompeje
Herkulanum
Muzeum Miejskie w Szczecinie
wykopaliska
archeologia
sztuka nowożytna
Wezuwiusz
malarstwo pompejańskie
Gabinet Pompejański
Opis:
The discovery and exploration of the towns of Herculaneum and Pompeii, inaugurated at the beginning of the eighteenth century, proved to have been an adventure in classical archaeology and a school of its scientific methods. The greatest revelation of the excavations conducted in the Campagna cities destroyed by an eruption of Vesuvius, was the immense variety of numerous murals, frequently preserved in excellent condition. The Municipal Museum of Szczecin was established in 1910, and opened to the public in the middle of 1913 after the construction of an imposing building. The main part of the Museum collections was composed of antiquities donated by the Dorn family, encompassing original monuments together with copies of classical works of art and crafts. One of the showrooms on the stately first storey of the Museum, featuring copies of monuments from the two Vesuvius cities, was known as the Pompeian Room. In the course of organising the classical expositions, Walter Riezler, the Museum director, decided to show also copies of Pompeian murals. His conception assumed the form of the so-called Pompeian Cabinet, a smaller interior distinguished from the Pompeian Room, with walls covered with copies of murals from the collections of the National Museum in Naples. They included architectural and decorative motifs as well as landscapes and figural compositions: Medea, Three Graces and Concert. The Cabinet was completed and opened to the public in May 1930, i .e. twenty years after the original concept was initiated. Its prolonged implementation was caused by assorted organisational and financial problems connected with wartime turmoil and the inflation of the 1920s. The first stage of work on the Cabinet involved the execution of copies of the aforementioned originals on display in Naples (at the time the largest collection of Pompeian wall paintings transferred from the excavated buildings). The authors of the copies included Munich-based painters Sophie F. Hormann and, after her resignation, Herman Völkerling, who executed part of the compositions in Naples. They were followed by Otto Dannenberg from Berlin (1928-1929). The decorations were a compilation of motifs and depictions originating from assorted monuments from the two towns, and thus were not copies in the literal meaning of the word. The resultant museum interior was a sui generis pastiche, whose purpose was to present both the character of the Pompeian houses and the style and technique of their painted embellishments.The author of the project and the painters who decorated the Cabinet devoted much attention and effort to assorted technical and technological aspects in order to recreate the technology of the classical mural, at the time totally unravelled (and up to this day not finally resolved), surrounded with an aura of mystery, and a source of fascination shared by artists and researchers alike; this held true especially for the effect of the deeply saturated colours and the glistening and smooth surface of the murals. The Szczecin Pompeian Cabinet has not been preserved despite the fact that the building of the former Municipal Museum survived the second world war and today is one of the seats of the National Museum in Szczecin. Most probably, the Cabinet was destroyed or liquidated during the first postwar years. In 2004 an exposure of the walls of the former Pompeian Room disclosed remnants of the Cabinet murals, but more extensive in situ research has not been inaugurated. The collections of the National Museum in Szczecin also include a copy of Cupid Chastised (tempera on plaster), whose connection with the Cabinet has not been satisfactorily explained.
Źródło:
Ochrona Zabytków; 2005, 3; 39-48
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Maltechnik", R. 77, 1971; R. 78, 1972; R. 79, 1973; R. 80, 1974; R. 81, 1975; R. 82, 1976 : [recenzja]
Autorzy:
Michałowski, Ziemowit
Powiązania:
https://bibliotekanauki.pl/articles/537750.pdf
Data publikacji:
1978
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
„Maltechnik”
malarstwo kazeinowe
klimatyzacja przy transporcie lotniczym malowideł
konserwacja rzeźb z brązu
rzeźby polichromowane
egipskie zabytki
Źródło:
Ochrona Zabytków; 1978, 1; 90-96
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Maltechnik, technische Mitteilungen für Malerei und Bildpflege", R. 74, 1968 : [recenzja]
Autorzy:
Szyszko, Władysław
Powiązania:
https://bibliotekanauki.pl/articles/536970.pdf
Data publikacji:
1973
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
"Maltechnik, technische Mitteilungen für Malerei und Bildpflege”
freski montażowe
malarstwo poliestrowe
malowidła w grocie Lascaux
zdejmowanie fresków
Źródło:
Ochrona Zabytków; 1973, 1; 76-80
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Painting on metal in the art culture of Kyiv: history, collections, stylistics, technique and technology of paintings
Malarstwo na metalu w kulturze artystycznej Kijowa – historia, zbiory, stylistyka, technika i technologia obrazów
Autorzy:
Ryzhova, Olga
Ivakina, Inna
Powiązania:
https://bibliotekanauki.pl/articles/21151081.pdf
Data publikacji:
2023
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Painting on metal support
Kyiv
Ukraine
history
stylistics
technique
technology
malarstwo na metalowym podłożu
Kijów
Ukraina
historia
stylistyka
technika
technologia
Opis:
The article is a review of Kyiv paintings on metal supports dating from the end of the seventeenth to the first quarter of the twentieth century. The review of the surviving artworks includes both iconostasis complexes in situ and icons and paintings, once removed from ensembles and preserved in the central Kyiv museum collections: the National ‘Kyiv-Pechersk Lavra’ Preserve and the National Art Museum of Ukraine. The selection criteria for the study were based on documentary evidence (mainly archival and bibliographic) that the artworks belonged to Kyiv. As a result of this comprehensive study on the paintings on metal supports in Kyiv and Kyiv collections, these artworks acquires the status of a reference base and becomes available for a wide range of researchers.
Artykuł stanowi przegląd kijowskiego malarstwa na metalowych podłożach datowanego od końca XVII do pierwszej ćwierci XX wieku. Analiza zachowanych dzieł sztuki obejmuje zarówno zespoły ikonostasów in situ, jak i ikony czy obrazy, które zostały usunięte z zespołów i włączone do głównych kolekcji muzealnych Kijowa: Narodowego Rezerwatu „Ławra Kijowsko-Peczerska” i Narodowego Muzeum Sztuki Ukrainy. Kryterium wyboru obiektów do badań była ich przynależność do Kijowa potwierdzona dokumentami (głównie archiwalnymi i bibliograficznymi). W wyniku kompleksowego badania kijowskiego malarstwa na metalowych podłożach oraz kijowskiej kolekcji, badane dzieła zyskują status bazy referencyjnej i stają się dostępne dla szerokiego grona badaczy.
Źródło:
Ochrona Zabytków; 2023, 1; 131-162
0029-8247
2956-6606
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Znaczenie naukowe odkryć malowideł ściennych w Małopolsce południowej
SCIENTIFIC SIGNIFICANCE OF THE MURALS REVEALED IN THE SOUTH OF LITTLE POLAND
Autorzy:
Pieńkowska, Hanna
Powiązania:
https://bibliotekanauki.pl/articles/536303.pdf
Data publikacji:
1977
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
malowidła ścienne ziemi krakowskiej
odkrycia konserwatorskie Małopolski
malowidła romańskie Małopolski
malowidła gotyckie
krańce podstropowe
malarstwo patronowe
Stanisław Samostrzelnik
podkarpackie kościoły drewniane
Opis:
The paper, by the late Hanna Pieńkowska — deceased in 1976, Assistant Professor and former Voivodship Conservator of Historical Monuments in Cracow — was delivered at the 25th Session o f the Historians o f Art, November 1975. The author had recapitulated therein the results o f the work o f conservation service on preserving the murals in the former voivodship of Cracow. At the outset there are discussed the research trends which gave rise to the present postulate for integrated conservation research. The place of prominence is taken therein by research on plasters. Investigations of this kind were carried out on 120 historical monuments situated in the former voivodship o f Cracow, 60 paintings thus revealed having been subject to conservation. The murals found in the Romanesque churches in the countryside refer to the decorations typical then of the fine arts in Austria, Bohemia and Hungary (12th—13 th centuries). In Gothic painting two trends have been singled out : the didactic (precepts o f faith, Biblical scenes) and the folk one. Another fact ascertained was perseverance of the favourite schemes and forms o f painting decoration applied since the mediaeval period till the mid-seventeenth century. The works o f art revealed in the course of the research discussed have brought into relief, both the variety o f artistic stimuli and the wealth o f the source o f inspiration. Moreover, they have enabled as well the study o f the then artistic centres outside Cracow (Tarnów, Olkusz, Nowy Sącz). Last but not least, the conservators’ discoveries made in the course o f conservation research have also provided for determination o f the ’’specialty” o f painting in Little Poland in the following fields : 1. decoration o f the interiors o f wooden churches ; 2. decoration o f manor houses; and 3. decoration of burgher houses. What was o f great significance to the history o f art was the fact of ascertainment o f the authors o f various works o f art, e.g. of Stanisław Samostrzelnik and of the person o f their patrons and founders, like Bishop Tomasz of Płaza. The author goes on to describe in greater detail the discovery o f the murals dating from various periods beginning with the Romanesque one (e.g. those at Tropie — end o f the 11th century, Wysocice — early 13th century). In Gothic painting there are to be singled out the uniform compositions o f interior decoration (Bolechowice, ca 1415), the loosely arranged paintings (e.g. at Olkusz, 14th century) and the polychromy o f architectural monuments (Staniątki, Stary Sącz). The next problem discussed is that o f the discovered Renaissance paintings classed into the respective groups according to their common artistic features. A separate complex make the so-called stencil paintings (e.g. at Dębno Podhalańskie, XV—XVI century) and the great ideological and formal cycles (Łękawica, 1630). Another set make as well the works o f outstanding artists, e.g. those by Stanisław Samostrzelnik (decorations in the Cistercian Church at Mogiła, 16th century) and paintings in minor interiors (polychromy in the chapel o f the church at Niepołomice, 1596) or decoration o f the burger houses in Cracow, Tarnów and Stary Sącz). The author mentions as well such sets as the Passion o f Christ, and those o f the Virgin Mary, linking on Gothic traditions (Racławice Olkuskie, mid-seventeenth century). The 17th century decorations o f castles, palaces, manorhouses and various interiors in town, dating from the 17th-century and continued in the 19th (Tęgoborze, Zator) are also described. The author concludes her paper in the statement that the number of subjects waiting for more detailed examination is simply enormous and the wealth o f the material disclosed in the course o f the said conservation research in Little Poland makes it possible for work o f synthetic character to be taken up.
Źródło:
Ochrona Zabytków; 1977, 1-2; 3-20
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
PRÓBA REKONSTRUKCJI PIERWOTNEGO WYGLĄDU TZW. RETABULUM Z WRÓBLEWA NA TLE WYBRANYCH STRUKTUR OŁTARZOWYCH W EUROPIE Z XV I POCZĄTKU XVI WIEKU
AN ATTEMPTED RECREATION OF THE ORIGINAL CONSTRUCTION OF THE SO-CALLED RETABLE FROM WRÓBLEWO A COMPARATIVE ANALYSIS INVOLVING RETABLES FROM XVth-XVIth-CENTURY EUROPE
Autorzy:
Ruszkowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/536861.pdf
Data publikacji:
2004
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Retabulum z Wróblewa
rekonstrukcja ołtarza z Wróblewa
struktury ołtarzowe w Europie XV XVI w.
ołtarz szafiasty
poliptyk
malarstwo symultaniczne
ołtarze włoskie
polichromie
Opis:
The article discusses assorted probable variants of the appearance of the so-called altar from Wróblewo, and outlines brief schemes of the structures and forms of European altars from the period. The so-called altar from Wróblewo, executed in about 1500, was in all likelihood intended for one of the churches in Gdańsk. The founder of the retable was a representative of the patrician Scheweke family (probably Johan Scheweke). In 1591, a second foundation encompassed already four painted wings of the altar structure. The middle part and the remaining elements were either destroyed or lost prior to this date. The wings were subsequently transferred to a private chapel of the Scheweke family in Wróblewo near Gdańsk, and remained there to the destruction of the chapel in approx. 1945. The preserved three wings are at present featured in the National Museum in Gdańsk. The extant fragments, i.e. the three wings as well as source data about the fourth wing make it possible to deduce information about links with the non-extant corpse, as well as the altar as a whole. This task is assisted by the preserved frame and an opportunity of recreating the sequence of the depicted events. The wing obverses, showing scenes from an apocryphainspired of the Virgin Mary, indicate the Marian character of the whole retable. The series starts with The Offering of Mary in the Temple, followed by The Miracle with the Rod. The central part of the altar would have contained consecutive depictions supplementing the story of the Holy Virgin Mary, closed by the last wings, i.e. The Slaughter of the Innocents and Respite While Fleeing to Egypt. Comparative analyses with the forms of other European altar structures make it feasible to determine the existence of a number of other presumable combinations of the retable’s appearance. The absence of information concerning other fragments of the retable and the technique of their execution, as well as the central part (carved or painted), also decidedly reduces the possibility of explaining the original appearance of the altar and multiplies assorted variants. Apparently, there is no doubt as regards the appearance of the altar with a closed middle part, which showed likenesses of saints standing against the backdrop of walls. The style of the execution of the wings, the original polychrome, and the selection of the topics, together with a comparative analysis involving other European retables from a similar period provide only a partial solution to the original appearance of the altar from Wróblewo, which reflected, e. g. Low Countries and German impact. Due to the absence of more numerous data, the selection of one of the solutions proposed in the article, or elsewhere, continues to remain an open issue.
Źródło:
Ochrona Zabytków; 2004, 3-4; 83-94
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Imitacje tkanin brokatowych w śląskim warsztacie malarskim Mistrza lat 1486/1487
Imitations of Brocade Fabrics in the Silesian Workshop of the Master from 1486/1487
Autorzy:
Flik, Józef
Olszewska-Świetlik, Justyna
Powiązania:
https://bibliotekanauki.pl/articles/536356.pdf
Data publikacji:
2001
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
imitacja tkanin brokatowych
malarstwo śląskie
Mistrz lat 1486/1487
technika i technologia malarska Mistrza lat 1486/1487
technika brokatów wytłaczanych
technika imitacji brokatów
brokaty wytłaczane
Opis:
The article concerns the technology of imitating embossed brocades applied in the painting workshop of the Master from 1486/1487. Paintings executed in this workshop retained numerous examples of imitations of brocade textiles fashionable during the Middle Ages. Material serving the execution of imitations is defined with the assistance of micro–chemical and instrumental investigations such as: spectral emission analysis, energy dispersion X–ray analysis with the application of an electronic micro–probe and gas chromatography. The conducted analyses, supported by the authors’ knowledge about old technologies and techniques, made it possible to define the way of executing imitations of embossed brocades in the workshop of the Master from 1486/1487, similar to the one described in the treatise Liber Illuministarius, kept in a Munich library. The outcome of the research provides valuable information about technologies and techniques employed in paintings by the Master from 1486/1487. Furthermore, they constitute source and comparative material useful for the establishment of the tradition of using imitation textiles by means of the embossed brocade technique in Polish and European painting.
Źródło:
Ochrona Zabytków; 2001, 1; 49-55
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
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