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Wyszukujesz frazę "malarstwo ścienne" wg kryterium: Temat

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    Wyświetlanie 1-4 z 4
    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:
    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:
    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
      Wyświetlanie 1-4 z 4

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