Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

Wyszukujesz frazę "van" wg kryterium: Temat


Wyświetlanie 1-8 z 8
Tytuł:
WYSTRÓJ WNĘTRZ DAWNEGO SANATORIUM W TRZEBIECHOWIE DZIEŁO HENRY’EGO VAN DE VELDE STAN BADAŃ I PRAC KONSERWATORSKICH W LATACH 2004-2005
INTERIOR DECORATION IN THE FORMER SANATORIUM IN TRZEBIECHOW THE WORK OF HENRY VAN DE VELDE STATE OF RESEARCH AND CONSERVATION IN 2004-2005
Autorzy:
Bielinis-Kopeć, Barbara
Markowski, Dariusz
Powiązania:
https://bibliotekanauki.pl/articles/538220.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
SANATORIUM IN TRZEBIECHOW (ARCHITECTURE & CONSERVATION)
VAN DE VELDE HENRY
Opis:
A physiotherapy-diet sanatorium founded by Prince Heinrich VII Reuss-Köstritz and his wife, Princess Marie Alexandrine, was opened in Trzebiechow in 1905. The author of the project was Max Schündler, an architect from Zwickau. The decorations and outfitting of the stately interiors were entrusted to the Belgian artist Henry van de Velde. Extant parts of the former sanatorium include the buildings of the complex and the park. The absence of significant repair during the inter-war period proved conducive for the preservation of numerous elements of the original outfitting and interior design. In 2004 the connection of the monument with the name of the celebrated Belgian artist proved decisive for the inauguration of studies, and a year later – for the first conservation-restoration undertakings aimed at recreating the original colours of the interiors, whose essential element consists of the perfectly preserved window and door joinery, the stair balustrades, the panelling and the benches. The conducted research disclosed the original intense colours either harmonising or contrasting with the walls and ceilings embellished with original ornamental motifs. The eight discovered decoration motifs of the interior constitute the most extensive set of the artist's preserved works in Europe; in 2005 they were subjected to conservation. Both the investigations and the conservation and restoration carried out in the Trzebiechow sanatorium have not been completed. Nonetheless, it may be said with full conviction that such a copious programme of interior design by Henry van de Velde has not been found elsewhere, a fact which enhances the rank of this particular complex among the cultural resources not only of Poland but also on a European scale.
Źródło:
Ochrona Zabytków; 2006, 3; 5-28
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Odkryty spod przemalowań obraz Jana van Bronchorsta
A PAINTING BY JAN VAN BRONCHORST REVEALED FROM BENEATH THE OVERPAINTINGS
Autorzy:
Steinborn, Bożena
Filipiak, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/536857.pdf
Data publikacji:
1974
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
obraz Jana van Bronchorsta
Muzeum Narodowe we Wrocławiu
przemalowania obrazów
ściąganie warstw malarskich
Opis:
The technological examinations of the seventeenthcentury painting which was displayed in 1970 in the National Museum, Wrocław have shown th a t it was overpainted for several times. In the left lower corner of that painting, whose subject is the Vintage Feast, a figure of erot has been revealed. Basing on numerous analogies the authors of the present report a ttr ibute the painting in question to the Dutch painter, named Jan van Bronchorst (ca. 1603—1661). Such a ttribution is, in the first line, suggested by the composition of some figures and also their positioning (positions of their heads, direction of sights and gestures of hands). The most close analogies can be found in the painting titled “The Concert” by Bronchorst that is now kept in the museum at Brunswick.
Źródło:
Ochrona Zabytków; 1974, 2; 137-142
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dawne sanatorium w Trzebiechowie. Dzieło Henry’ego van de Velde – z perspektywy dekady – odkryte na nowo
Former sanatorium in Trzebiechów. The work of Henry van de Velde – from the perspective of the decade – discovered anew
Autorzy:
Bielinis-Kopeć, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/537783.pdf
Data publikacji:
2014
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Henry van de Velde
Trzebiechów
konserwacja wnętrz
restauracja wnętrz, sanatorium
wnętrza z początku XX wieku
Opis:
Ten years have already passed by since the discovery of the unknown work of Henry van de Velde – interior decor and furnishings of the former sanatorium in Trzebiechów – was announced, which took place in 2003. It was the grandson of the last head of the sanatorium before the outbreak of the WWII, who picked up the trail of the artist and followed information relating Henry van de Velde to the sanatorium in Trzebiechów, erected between 1902-1905 from the funds of the Ducal Family of von Reuss. As deep as in the Archives of the Prussian Cultural Heritage Foundation in Berlin, he discovered the lists of the artist to Duchess Marie Alexandrine von Reuss. This proved the authorship of the Belgian, additionally confirmed by the later stylistic and comparative analysis. The discovery complemented the catalogue of works of Henry van de Velde and had wide repercussions throughout Europe. Conservation research in the buildings of the former sanatorium has been commenced soon after, followed by renovation as well as conservation works in the years 2004-2012, resulting in revealing the interiors in original colouring from the dawn of the 20th century. The 150th anniversary of the Belgian artist birthday, celebrated in 2013 in many European countries, including Poland, was a great opportunity to remind of the only work of van de Velde at the territory of our country. Henry van de Velde was a versatile man of art. His works include such domains as painting, architecture, furniture and textile design, book covers, posters, ceramic, china and metalwork designs, ladies clothing. He was also the author of studies on the theory of art. Van de Velde had a great impact on development of the European art of the 20th century and is considered one of the most recognized representatives of the Modernism. In 1902, Henry van de Velde arrived to Weimar, to take the position of the counsellor for art, industrial design and craft at the court. The Weimar period is considered to be the one of the most significant in his career. His Weimar designs include, among others, redevelopment of the house of philosopher Friedrich Nietzsche into archive, the buildings of the School of Art and the Arts and Crafts School, as well as a house for his family, called Hohe Pappeln – a true manifesto of the New Style, by which the artist expressed drastically its clear departure from imitating the historical styles. The most significant works delivered during the Weimer period include construction of villa for the manufacturer H. Esche in Chemnitz, for Dr. W. Leuring in Scheveningen in Holland, for P. Schulenburg in Gera, redevelopment of villa for T. Koerner in Chemnitz and interiors in the sanatorium in Trzebiechów. Henry van de Velde’s output consists in more than 300 designs, including works of art and complex architectural structures. He designed 48 buildings along with their complete furnishings and interiors, following the idea with of combining different areas of artistic creation into a single work of art, in line with the vision behind the Gesamtkunstwerk. The list of his works depicts more than 100 interior designs, for the most from Belgium, Germany and Holland. The most outstanding are the interiors of the Folkwang Museum in Hagen, Nietzsche Archive in Weimar, H. Esche’s villa in Chemnitz, K.E. Osthaus’s villa (Hohenhof) in Hagen and sanatorium in Trzebiechów. Research performed in recent years revealed that the commission taken up by Henry van de Velde in Trzebiechów covered complex designs of vast majority of representative interiors, including colouring and decorative ornaments for staircases in two largest buildings of the complex, i.e. main building and the administrative and residential building called The Doctor’s House, accompanied by halls, social rooms for both ladies and gentlemen, billiards room and dining room situated in the main building. The artist designed also door and window woodframes, stairs, floors, floor finishing, panelling, etc. The designs covered many domains, from constructional solutions (structure of pseudo-ceiling in a dining room and side staircase in the main building) to minor details, such as ferrules or door and window handles. Both the scale and quality of the artistic output visible in the sanatorium in Trzebiechów and well-preserved original elements of the historical building make it one of the most distinguished works of Henry van de Velde. Regular research and conservation and reconstruction works performed in recent years brought to light and allowed to maintain the original elements of the historical building. That is why we may consider the former sanatorium in Trzebiechów, aspiring to the rank of the ‘monument of history’, as the work of art of the European scale.
Źródło:
Ochrona Zabytków; 2014, 2; 119-138
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gdańska Studnia Neptuna
Autorzy:
Strzelecki, Wacław
Powiązania:
https://bibliotekanauki.pl/articles/536797.pdf
Data publikacji:
1959
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
StudniaNeptuna
Abraham van demBlocke
Piotr Husen
fontanna z posągiem Neptuna
koń morski ze Studni Neptuna
odbudowa Studni Neptuna
fontanna w Gdańsku
Źródło:
Ochrona Zabytków; 1959, 3-4; 173-184
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Werniksy akrylowe
Acrylic Varnishes
Autorzy:
Ciabach, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/536231.pdf
Data publikacji:
2001
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
werniksy akrylowe
werniksy z mieszanin żywic akrylowych
stabilizacja werniksów akrylowych
receptury werniksów
werniksy wytwarzane z Paraloidu В 72
właściwości Paraloidu В 72
Paraloid В 72
werniks Van Gogh
poli(metakrylan n-butylu)
poli(metakrylan izobutylu)
Opis:
The article presents the properties of frequently used acrylic varnishes, with special mention of the history of their application and the state of current knowledge. The author indicates assorted ways in which the producers obtain a certain degree of matte effects (beeswax, monocrystal wax, colloidal silica), increase resilience against the impact of light (UV absorbents, photostabilisers fromthe HALS group), and employ different organic solvents, enabling the regulation of the time needed for drying. The presented article is a survey, containing the results of heretofore unpublished studies conducted by the authors.
Źródło:
Ochrona Zabytków; 2001, 1; 30-35
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obrazy wizji św. Bonawentury i św. Franciszka z Asyżu (1. poł. XVIII w.) z klasztoru Franciszkanów reformatów w Przemyślu. Nowe rozpoznanie ikonograficzne
Images of the vision of St. Bonaventure and St. Francis of Assisi (1st half of the 18th c.) from the Reformed Franciscan monastery in Przemyśl. New iconographic recognition
Autorzy:
Dzik, Janina
Powiązania:
https://bibliotekanauki.pl/articles/539315.pdf
Data publikacji:
2015
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Przemyśl
Biecz
Wieliczka
Kęty
Pińczów
Kraków
Św. Anna k. Przyrowa
Kazimierz Dolny
franciszkanie reformaci
św. Franciszek z Asyżu – ikonografia
św. Bonawentura – ikonografia
Giovanni Francesco Barbieri zwany Guercino
Antoni van Dyck
Św. Anna near Przyrów
Reformed Franciscans
St. Francis of Assisi – iconography
St. Bonaventure – iconography
Giovanni Francesco Barbieri called Guercino
Opis:
The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the Communion of Saint Francis and the Veneration of the Cross by Saint Francis, brought about interesting outcomes. It turned out that the images were previously interpreted mistakenly, as they actually present the Communion of Saint Bonaventure and the vision of Saint Francis in Vicalvi (Vision of an angel with an ampoule), typical of the Franciscan post- Trent iconography. The pattern for the image Communion of Saint Bonaventure in the Przemyśl monastery was an engraved reproduction of a painting by A. van Dyck, which was to be created by Pieter Bailliu, an engraver from Antwerp (Balliu; around 1613- after 1660). The creation referred to the Last Communion of Saint Francis by Rubens. According to Carl Justi, the main idea of the presentation was a feeling of humility and a particular dignity of Saint Bonaventure towards the Blessed Sacrament. As a young monk, he attended a mass, but felt too unworthy to receive Holy Communion every day. During the mass, an angel appeared who, after taking a particle of a Host from the hands of a priest celebrating the mass, put it into Bonaventura’s mouth, so that “he knew that it was better to receive the Eucharist with love than to refrain from it for fear”. That pattern was common in Reformed Franciscan churches. The Communion of Saint Bonaventure was created to decorate the sacristy of the church in Pińczów (signature A. N. W. and the date 1717) and as a modello stored in the monastery in Kraków for an uncreated altar picture or sacristy decoration. That scene is also presented in the sacristy of the former Bernardine (now Dominican) church in Św. Anna near Przyrów. The second picture, Vision of an angel with an ampoule, was a reproduction of an engravery by Giovanni Francesco Barbieri called Guercino, presenting the vision of Saint Francis of Vicalvi, referred to as Vision of priestly dignity. The composition, popularized by, among others, the engraveries by Giovanni Battista Pasqualini (1630), was a pattern for painted decorations in the sacristies of Reformed churches in Pińczów, Wieliczka, Kęty and Biecz. According to Raffaell Colace in the article San Francesco e l’angelo con l’ampolla, the image of the saint by Guercino can be interpreted in two ways. On the one hand, in the context of underlining the humility of the saint who considered himself unworthy of being a priest and, on the other hand – the “spotlessness” of priesthood, the value particularly emphasized by the Catholic doctrine after the Council of Trent. The discussed pictures are a typical element of equipment of the sacristies of Reformed churches in the former Lesser Poland province. They were probably connected with the function of that place, in which the liturgical celebration was prepared. It can be presumed that, in the past, the pictures could have been the equipment of the sacristy of the Przemyśl church. It seems to be confirmed by the archival files kept at Reformed Franciscan Province Archives from the 19th century, reporting “great images over the mensa in the sacristy”. The images, created by a local guild artist or an artist from the Order do not manifest significant artistic values. However, they are interesting from the point of view of iconographic values, as a reproduction – through graphic patterns – of renowned works of Guercino and van Dyck, who are among the greatest European painters. Presenting both legendary events from the life of the patriarch of the Order and the main theorist of Franciscan thought was supposed to emphasize the new, post-Trent form of devotion – veneration of Eucharistic Christ and an exceptional dignity of celebrating the Holy Mass. Perhaps the humble attitude of the monks had a moralizing significance in a form of an example for the priesthood in the Reformed Franciscan order. Thus, the presentations are of high historical and cultural importance for the research on the history of the order.
Źródło:
Ochrona Zabytków; 2015, 1; 153-166
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zespół pałacowo-parkowy w Otwocku Wielkim w świetle rozpoczynających się badań nieinwazyjnych
The palace and park complex in Otwock Wielki in the light of the beginning of non-invasive research
Autorzy:
Feliks, Anna
Markiewicz, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/2104890.pdf
Data publikacji:
2020
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Kazimierz Ludwik
i Franciszek Bielińscy
architektura i rzeźba polska barokowa
i rokokowa
Tylman z Gameren
Józef Piola
Francesco Maino
Jan
Chryzostom Redler
grawimetria
fotogrametria
skaning laserowy
ortoobrazy
badania nieinwazyjne
pałac w Otwocku Wielkim
Kazimierz Ludwik and Franciszek
Bieliński
Polish baroque and rococo architecture and sculpture
Tylman van Gameren
Jan Chryzostom
Redler
gravimetry
photogrammetry
laser scanning
ortho-images
non-invasive research
palace in Otwock Wielki
Opis:
Obecnie badacze mają liczne wątpliwości odnośnie do historii kształtowania zespołu pałacowo-parkowego w Otwocku Wielkim. Aby potwierdzić lub odwołać narosłe w powojennej literaturze hipotezy, konieczne są kompleksowe badania. Z różnych względów – merytorycznych i praktycznych – najkorzystniejsze będzie przeprowadzenie w pierwszej kolejności badań nieinwazyjnych przy zastosowaniu współczesnych technik pomiarowych: grawimetrii, fotogrametrii i innych pomocniczych. Nie ma pewności, czy domniemany, istniejący tu pierwotnie dwór, a później pałac, został w całości podpiwniczony i czy między piwnicami na całej ich długości była komunikacja, której brak było między budynkami na powierzchni. Piwnice dostępne są tylko w pewnym zakresie, bowiem po II wojnie światowej nigdy ich nie odkopano, a z racji kosztów oraz z powodu podmokłych gruntów bardzo trudno przeprowadzić w tym miejscu badania metodami wykopaliskowymi. Pałac jest zarówno na ścianach wewnętrznych, jak i zewnętrznych otynkowany, co utrudnia badanie murów granicznych, a także w punktach stycznych (określenie ich grubości, warstw i przebiegu), jak również otworów i przewodów kominowych. Teren zielony wokół pałacu na wyspie oraz poza nią nie był dotąd przedmiotem badań. Poza dostarczeniem konkretnych informacji umożliwiających wyjaśnienie historii powstawania i atrybucji zabytków, wobec braku dokumentacji archiwalnej, podjęte prace posłużą jako przykład możliwości wykorzystania metod nieinwazyjnych, którymi dotąd rzadko posługiwali się konserwatorzy, a jeszcze rzadziej badacze architektury. Wyniki tych badań być może zrewolucjonizują wyobrażenia o pałacu w Otwocku Wielkim.
At present, researchers have numerous doubts about the history of the shaping of the palace and park complex in Otwock Wielki. In order to confirm or revoke hypotheses developed in post-war literature, it is necessary to conduct a comprehensive research. For various reasons – both substantive and practical – it will be most beneficial to conduct non-invasive tests first, using modern measurement techniques: gravimetry, photogrammetry, and other auxiliary techniques. It is not certain whether the allegedly existing original manor house, and later the palace, had a full basement and whether there were passageways between the basements along their entire length, which did not exist between the buildings on the surface. The basements are accessible only to a certain extent because after World War II they were never excavated, and due to the costs and wetlands, it is very difficult to carry out excavation in this place. The palace is plastered on both internal and external walls, which makes it difficult to examine the boundary walls, as well as contact points (determining their thickness, layers, and course), as well as openings, and chimney flues. The green area around the palace, both on and off the island, has not yet been researched. In addition to providing concrete information to explain the history of the creation and attribution of monuments, in the absence of archival documentation, the works undertaken will serve as an example of the possibility of using non-invasive methods, which until now have rarely been used by conservators and even less frequently by architectural researchers. The results of this research may revolutionize the idea about the palace in Otwock Wielki.
Źródło:
Ochrona Zabytków; 2020, 1; 13-40
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wpływ zjawisk elektrostatycznych na brudzenie się werniksów z żywic sztucznych
THE EFFECT OF ELECTROSTATIC PHENOMENA ON THE SOILING OF VARNISHES FROM SYNTHETIC RESINS
Autorzy:
Rouba, Bogumiła
Łukaszewicz, Jadwiga
Powiązania:
https://bibliotekanauki.pl/articles/535550.pdf
Data publikacji:
1982
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
wpływ zjawisk elektrostatycznych na brudzenie się werniksów z żywic sztucznych
wpływ elektryzowania powłok werniksów na zdolność
trwałego utrzymywania zabrudzeń
wpływ elektryzowania na zdolność brudzenia próbek werniksów
zależność między warunkami klimatycznymi a skłonnością do osiadania kurzu na powierzchni obrazów pokrytych współczesnymi werniksami
im niższa wilgotność względna i wyższa temperatura otoczenia, tym szybciej następuje brudzenie werniksów
przyspieszone brudzenie werniksów z żywic sztucznych spowodowane zjawiskami elektrostatycznymi
przyciąganie cząsteczek węgla aktywnego przez próbki werniksów przed i po ich naelektryzowaniu
badanie własności elektrostatycznych werniksów
przebieg elektryzowania i samorozładowania werniksu Van Gog
własności fizykochemiczne preparatów antyelektrostatycznych
wpływ preparatów antyelektrostatycznych na zabrudzenie werniksów
Opis:
The article is a summary of the work published in academic books of the Copernicus University in Toruń. Basing on th e observations and experience the authors put forward a hypothesis th a t the main reason of a rapid soiling of varnishes from synthetic resins is their proneness to produce and acculmulate electrostatic charge. It has been proved experimentally th a t th a t is so; moreover, the factors determining th e level of the charge accumulated have been determined. F urthe r in the work the authors made an attempt to employ industrial methods of the elimination of eelectrostatic charge for conservation purposes. After selecting a method of antielectrostatic preparation and establishing the criterious which should be met by preparations seven substances have been chosen. Then, the effectiveness of th e ir electrostatic activity has been checked on films of th ree varnishes th a t are used most frequently as conservation varnishes. The analysis of the results obtained in individual stages of work made it possible to state th a t the original and most important cause of the soiling of varnishes is th e ir electrostatic charging th a t in practice takes place even under th e effect of thermogravitational movements of the air. The dirt re maining on the surface of the warnish stays glued into it because of low melting temperatures of substances used to make varnishes. It is difficult for conservators alone to eliminate this great disadvantage of synthetic varnishes. Their manufactures must also work on this problem and it is from them th a t one should expect works on the possibilities of modifying electrostatic resins already at the stage of their polymerization. If this problem is not solved th a n it will be necessary once again to ask about profits and losses and thus about a justification for the use of varnishes from synthetic resins in conservation.
Źródło:
Ochrona Zabytków; 1982, 1-2; 103-111
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-8 z 8

    Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies