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Wyszukujesz frazę "conservation of art" wg kryterium: Wszystkie pola


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
Tytuł:
Dziedzictwo zachowane i na nowo odkryte. Prace konserwatorskie przed wystawą Obraz Złotego Wieku w Zamku Królewskim na Wawelu
Heritage preserved and rediscovered. Conservation work undertaken prior to the exhibition The Image of the Golden Age at the Wawel Royal Castle
Autorzy:
Buchwald-Zięcina, Oliwia
Powiązania:
https://bibliotekanauki.pl/articles/23352193.pdf
Data publikacji:
2023
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
wystawa Obraz Złotego Wieku
konserwacja dzieł sztuki
malarstwo tablicowe
renesans
Wawel
exhibition Image of the Golden Age
conservation of works of art
panel painting
Renaissance
Opis:
Jesienią 2023 roku w Zamku Królewskim na Wawelu została otwarta monumentalna wystawa zatytułowana Obraz Złotego Wieku. Prezentowane na niej obiekty pochodzą z czasu panowania ostatnich trzech Jagiellonów (1501–1572), a zatem z okresu największej świetności tej dynastii. Organizacja ekspozycji stworzyła wyjątkową okazję do odnowienia wielu zabytków z epoki. Rozległe prace konserwatorskie przy eksponatach podjęto na długo przed otwarciem wystawy. Spośród ponad 400 obiektów około 100 zakwalifikowano do szeroko zakrojonych prac badawczo-konserwatorskich. Efekt tych działań stanowił dodatkową korzyść z wystawy jeszcze przed jej udostępnieniem. Wyniki podjętych działań przynoszą nowe odkrycia, pogłębiają wiedzę o prezentowanych dziełach, a przede wszystkim potwierdzają silne wpływy zachodnioeuropejskie na kulturę i sztukę monarchii polsko-litewskiej pod rządami Aleksandra Jagiellończyka, Zygmunta Starego i Zygmunta Augusta. Wsparcie finansowe Ministerstwa Kultury i Dziedzictwa Narodowego pozwoliło na równoległe prowadzenie działań przez kilka zespołów konserwatorskich przy zabytkach bezcennych dla polskiej kultury. Wytypowanym obiektom zapewniono najwyższe standardy konserwatorskie, uwzględniające obowiązujące przepisy, doktryny konserwatorskie i doświadczenie ekspertów. Przygotowywane opracowania i dokumentacje tych prac powinny w przyszłości przybrać formę publikacji naukowej, stanowią bowiem przemyślaną metodologię konkretnych zagadnień konserwatorskich, a także rozwiązań technicznych i technologicznych. Dzięki wiedzy i otwartości rzeczoznawców oraz praktyków, choć niejednokrotnie to czasochłonny i skomplikowany proces, przejmowane są nowoczesne rozwiązania stosowane w czołowych europejskich ośrodkach konserwacji dzieł sztuki.
In the autumn of 2023, a monumental exhibition entitled The Image of the Golden Age opened at the Wawel Royal Castle. The artefacts on display date from the reign of the last three Jagiellonians (1501–1572), and thus from the dynasty’s heyday. The organization of the exhibition created a unique opportunity to restore many artefacts from the period. Extensive conservation work was undertaken long before the opening of the exhibition. Of the more than 400 objects, approximately 100 were qualified to undergo extensive research and conservation work. The outcome of these activities brought additional benefits to the exhibition even before it opened; they led to new discoveries being made, enhancing existing knowledge of the works on display and, above all, have confirmed the considerable Western European influence on the culture and art of the Polish-Lithuanian monarchy under Aleksander Jagiellon, Zygmunt the Old and Zygmunt August. Financial support from the Ministry of Culture and National Heritage made it possible for several conservation teams to carry out simultaneous activities on artefacts that are invaluable to Polish culture. The objects selected were guaranteed the highest standard of conservation, taking into account current legislation, conservation principles and expert experience. The studies and documentation of these artefacts should, in the future, take the form of an academic publication, as they demonstrate a well-conceived methodology for specific conservation issues, as well as technical and technological solutions. Although this is often a time-consuming and complicated process, owing to the knowledge and openness of experts and professionals, contemporary solutions used in leading European centres for the conservation of works of art are being adopted.
Źródło:
Ochrona Zabytków; 2023, 2; 125-145
0029-8247
2956-6606
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dokształcanie podyplomowe konserwatorów na Studium Konserwacji Dzieł Sztuki, Akademii Sztuk Pięknych w Krakowie
POST-GRADUATION SUPPLEMENTARY TRAINING OF CONSERVATORS WITHIN THE COURSES OF CONSERVATION OF WORKS OF ART AT THE HIGH SCHOOL OF ARTS, CRACOW
Autorzy:
Zalewski, Władysław
Powiązania:
https://bibliotekanauki.pl/articles/537165.pdf
Data publikacji:
1971
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
programy nauczania konserwacji dzieł sztuki
Studium Konserwacji Dzieł Sztuki ASP w Krakowie
Opis:
In the field of conservation may be observed a range of relatively rapidly occurring changes with regard to methods, materials applied and aesthetic requirements which result in alterations introduced to curricula designed for the conservator training. In consequence of the above changes arise the differences between the levels and resources of professional knowledge acquired by succeeding yearly groups of graduates which are becoming the more drastic with time elapsing from the date of graduation. Certainly, the conservators are augmenting their knowledge chiefly due to experience gained during th e ir professional activities, however, lit is the nature of conservator’s job itself, connected with the need of applying long-lasting treatments, th a t practically confines the development of perceptive abilities and leads to performing the work in form limited to a daily bread -an d -b u tter business. In several cases the conservators have to do their job far from larger professional circlds and the thus narrowed specialized range makes them unable to be duly orientated in a complete se t of problems and trends prevailing in conservation. Frequently enough some of them are forced to withdraw from profession for a longer or shorter period of time due to changes in their living conditions. The above features and occurrences have been often subjected to discussions within the conservators milieu in Cracow. Taking into account all these problems in 1970 it has been decided in the Conservation Department at the High School of Arts, Cracow to organize a systematic action of supplementary training for persons who graduated in this Department. The activities sta rted by the Department have taken the form of a three-day cycle of lectures combined with shows and discussions covering selected problems from different ranges of conservation and auxiliary disciplines which are held once a year early in spring or in the late autumn when the conservators, afte r completing their seasonal works, have more time at their disposal.
Źródło:
Ochrona Zabytków; 1971, 2; 138-139
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problemy konserwacji neoplastycznego dzieła sztuki
PROBLEMS INVOLVED IN CONSERVATION OF WORKS OF NEOPLASTIC ART
Autorzy:
Rubczyńska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/535274.pdf
Data publikacji:
1971
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
neoplastycy
sala neoplastyczna w Muzeum Sztuki w Łodzi
Piet Mondrian
zasady neoplastycyzmu
Katarzyna Kobro
W. Strzemiński
Opis:
In Museum of Arts, Łódź there are two rooms the walls of which iare covered with the painted decorative motifs designed by an outstanding representative of the Polish neoplastic art Władysław Strzemiński and his disciple Bolesław Utkin. In the same rooms are displayed the paintings, sculptures and pieces of furniture supplying an illustration of the aforementioned trend in art. The preservation of painted decorative motifs on walls presents, however, a great deal of difficulties as they represent quite an unusual problem within the scope of the conservator’s usual practice. Since the preservation of perfectly smooth and uniformly shaded surfaces in particular parts of decoration Is an absolute must, the author suggests that in places where it might prove necessary to recover the losses no stippling should be applied ; instead of this the entire surfaces should be covered with colour matching as much as possible that of original work.
Źródło:
Ochrona Zabytków; 1971, 1; 43-49
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Studium Konserwacji Dzieł Sztuki Akademii Sztuk Pięknych w Krakowie
THE COURSES IN CONSERVATION OF WORKS OF ART AT THE HIGH SCHOOL OF ARTS, CRACOW
Autorzy:
Medwecka, Zofia
Powiązania:
https://bibliotekanauki.pl/articles/535215.pdf
Data publikacji:
1971
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
nauczanie konserwacji dzieł sztuki
Studium Konserwacji Dzieł Sztuki ASP
ASP Kraków
Opis:
In the article is given a short history of creation and development ,of the Courses of Conservation at the High School of Arts, Cracow the tradition of which can foe traced as far back as to the il'9th century. The actually existing Courses were called into being in 1'9'50 after integration of the two teaching institutions, namely the Academy ,of Fine Arts and the Higher School of Arts, Cracow. Within actual organizational structure of Courses the re are th re e chairs, two of them having an additional division, teaching the students in two specialized lines — conservation of easel and mural paintings as well as conservation of indoor and architectural sculpture. To the Chair of Conservation of Mural Paintings and Architectural Sculpture headed by Docent Władysław Zalewski are subordinated the atelier of conservation of mural paiintings, that of conservation of architectural sculpture, the atelier of inventorying and copies, and the division of documentation and inventorying. To the Chair of Conservation of Easel Paintings and Wood Sculpture, headed by Docent Zofia Medwecka, are subdued the following: ateliler of easel pa'mting conservation, atelier of wood sculpture conservation, division of physics and applied chemistry, headed by R. Biliński, chem. eng., and the two laboratories — of applied physics and th a t of applied chemistry. The Chair of Technology and Painting Techniques, headed by Docent Dr. Władysław Slesiński, comprises the atelier of painting technology, th a t of painting techniques, technological laboratory, documentation a r chive and a specialized library. Among the members of teaching staff can be listed monument conservators, a rt historians, a physist, the chemists, a microbiologist, and also the practicizing painters and sculptors. In the furthe r parts of the article an information is given by the author regarding the duration of studies supplemented by practices as well as that concerning the course and programmes of studies or capacities required from candidates. Short characteristics have been given by the author of facilities and apparatus used in ateliers f,or conservation purposes and already ranging to the world standards normally found in equipment of th a t kind. It is this standard which allows to undertake the complex tasks in the field of conservation, among them those connected with practical purposes, research, technical works or with preparing of documentation. The Courses in their actual form and functions may to some extent be compared with a research institute furnished with both suitable equipment and materials, the sufficient atelier conditions and the scientific staff. Much more exhaustive information has been given by the author with regard to th e scope and character of activities conducted in three lines, namely th a t instructive, scientific research and conservation se rvices. Discussing the first of the above lines the author characterized the qualities of a student and g ra duate, the curriculum, materials used during exercises, subjects of diploma works, achievements in the scientific and research work and also gave information on admission of research students and r e - educational courses for conservators. Dealing with matters connected with the second line of activities she gave a comprehensive explanation of programme of scientific and research works undertaken and carried out by particular Chairs and Divisions and also the publishing and publicity actions for the sake of conservation and protection of cultural property. Finally, commenting the activities in the field of conservation services 1 she explained the forms of co-operation with field conservators, museums, galleries, artists and a r t historians and manufacturers of painting materials and those applied in conservation as well.
Źródło:
Ochrona Zabytków; 1971, 2; 115-119
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konserwacja obiektów sztuki sakralnej Kresów Wschodnich Rzeczypospolitej
Conservation of objects of sacred art in the eastern borderlands
Autorzy:
Smaza, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/539302.pdf
Data publikacji:
2010
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
sztuka sakralna
budowle sakralne
kresy
kresy wschodnie
wschodnia Rzeczypospolita
niewłaściwa adaptacja
dzieje powojenne
profesjonalne prace konserwatorskie
prace restauratorskie
światowej klasy wartości artystyczne
kolegiata żółkiewska
Żółkiew
Dziedzictwo Kulturowe
Ochrona Dziedzictwa Narodowego poza Granicami Kraju
materialne dziedzictwo Kresów
Opis:
The tumultuous history of World War II along with its political outcomes have not only lead to moving borders of the Republic of Poland, but also to losing a considerable part of its territory. The lands which were the source and the breeding ground for multicultural tangible and intangible values remained beyond the eastern border. While direct military activities did not lead to the destruction of many temples, the period of fratricidal combat, particularly in Volhynia, fuelled chiefly with hatred and anger, caused vast destruction. Another period was the rule of the Soviet authorities, whose main goals included fighting religion, as well as its entire tangible heritage. The forms and the intensity of fighting varied: temples were being closed, blown up or transformed into factories, power stations, prisons, bakeries, warehouses (usually for artificial fertilizers, oftentimes stored loose), mills, stables, department stores, gymnasiums, offices, apartments, concert halls, or museums of atheism and religion; this was connected with the removal of crosses, towers and domes. Frequently, reconstructions were so extensive that today it is very difficult to recognise that they were once sacred buildings. The furnishing of temples, which often was at the highest artistic level in the world, suffered the cruellest fate. Usually, it was barbarically removed and burnt. Immense geopolitical changes in East-Central Europe in the early 1990’s brought independence to many countries, which undertook a number of regulations enabling the return of temples to their rightful owners. This process, very vigorous in the first period, has almost ceased in recent years. Restoring fairly original appearance to the recovered temples required a huge sacrifice, and oftentimes heroism. First of all, protective, repair, and construction works had to be conducted, in many instances without adequate knowledge. The restoration of the sacred interior designs of the temples was done on a random basis. While the way of proceeding with the restorations was somewhat justified at the time, the activities in recent years, including among others, the inappropriate reconstruction of furnishing, have resulted in a loss of the last remaining values. They have been replaced with mediocrity and tackiness. Professional restoration works have been carried out only in few cases. The reasons for this are varied, on the one hand, among others, the lack of funds, the lack of adequate identification and the preparation of objects in such a vast territory, and on the other hand, the lack of partners. Presently, works on the appropriate professional level are being conducted almost in every scope and discipline at several dozen temples. They are carried out by highly experienced specialists from Polish schools. The works which have been conducted for the last 22 years in the 17th century collegiate church in Zhovkva, Ukraine, constitute one of such exceptions. They have been carried out by students and graduates of Polish schools: the Academy of Fine Arts in Warsaw and the Academy of Fine Arts in Kraków, as well as the Nicolaus Copernicus University in Toruń at the faculty of conservation and restoration of sculpture and architectural structure, and occasionally conservation and restoration of painting, or historic textiles. The works have been conducted in various forms: as holiday internships (month long) or MA theses (in case of the Academy in Warsaw), and the most difficult conservation issues are solved by international committees of specialists and are rendered by certified conservators and restorers of works of art based on the contract for specific task (it has only been several years that this form has contributed to a significant acceleration of the state of completing the restoration of the temple), and also as a form of volunteer work. This last form of activity (increasingly popular) requires highly qualified specialists who undertake full responsibility for the conducted works. Moreover, specific regulations exist which pertain to carrying out restoration works on historical monuments. The assistance, especially financial, of the Department of National Heritage, existing as a part of the Ministry of Culture and National Heritage, or the Centre of Polish Cultural Heritage Abroad at the Association “Polish Community”, as well as the Senate of the Republic of Poland and various foundations, has decidedly increased the number of works rendered on the highest professional level in the world serving the preservation of heritage of the eastern borderlands. It is, regrettably, still “a drop in the ocean”.
Źródło:
Ochrona Zabytków; 2010, 1-4; 85-94
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O nieznanym wkładzie Karola Soczyńskiego do nauki o konserwacji malowideł i grafiki
AN UNKNOWN CONTRIBUTION BY KAROL SOCZYŃSKI TO CONSERVATION OF PAINTINGS AND GRAPHIC ART
Autorzy:
Ślesiński, Władysław
Powiązania:
https://bibliotekanauki.pl/articles/539018.pdf
Data publikacji:
1973
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Karol Soczyński
rękopisy Soczyńskiego
werniksowanie
nauczanie konserwacji malowideł
Opis:
Our knowledge in the field of history of conservation is being permanently extended and with every passing year grows more and more deep. So, for ex ample, for a further step on the way to its enriching we are greatly indebted to I. Bobrowska, Chief Conservator, National Museum, Cracow who during the German occupation of Poland from among the cultural property and works of art robbed by the Nazis managed to pick up and to safeguard a valuable manuscript. The manuscript in question coming from the year 1840 and bearing a somewhat lengthy title „The Art of Restoration of Paintings, of Engravings and Woodcuts nevertheless of Their Cleaning, Stretching and That of Preparing Varnishes etc. etc., According to Various Italian, French and German Authors translated into Polish Language and furnished with Remarks and Supplements” is a work of Karol Soczyński. In his present article the author made an attempt to point to importance of the above manuscript and to give a portrait of its author. Karol Soczyński (died 1862), Med. Dr., a Professor at the Yaghiellonian University, a Senator of the Free Republic of Cracow and a member of the Cracow Scientific Society belonged to a group of the outstanding art connoisseurs in Poland of his time. He possessed quite large, in proportion to those in the first half of the nineteenth century, library and was a freelancing contributor to the then widely read periodical „PIAST or the Technological Thesaurus” where he had published more than one thousand contributions. However, the most interesting for the technological ex perts and conservators of works of art items forming his extremely abundant oeuvre were never printed and thus considered as those lost for ever. According to Soczyński himself it seemed that they have been swallowed up by the great fire of Cracow in 1850. It may, therefore, be said that the recovered manuscript „The Art of Restoration...” was until recently not known from the subject literature and it does, no doubt, constitute a new and remarkable contribution to the history of conservation of paintings and graphic art. This exceptionally high historical importance of Soczyński’s manuscript consists at least in two basic factors, namely that it constitutes one of the rare in the mid-nineteenth-century Europe (and at the same time the first among the Polish) so comprehensive manuals in the area of conservation and, in addition, that it is not simply a compilation made of materials found in one or two works dating from the same time. While briefly reviewing the general situation in conservation of paintings within the period of 1800—40 the author supplies a number of warrants for his claims that are in turn followed by a confrontation of fragments quoted from the nineteenth-century conservation manuals with the text of manuscript by Soczyński. As a result the conclusion can be drawn that for a manual with such comprehensive contents an analogy may be found only in a few most comprehensive works published within the span between 1800 and 1840 as, for instance, those by Lucanus or Pranger. A more detailed analysis of problems discussed by Soczyński in his „Art of Restoration...” on the background of other books and the practice of conservation will be presented by the author in his next article.
Źródło:
Ochrona Zabytków; 1973, 3; 176-180
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
GENEZA I DZIAŁALNOŚĆ MIĘDZYUCZELNIANEGO INSTYTUTU KONSERWACJI I RESTAURACJI DZIEŁ SZTUKI
THE ORIGIN AND ACTIVITY OF THE INTERACADEMIC INSTITUTE OF THE CONSERVATION AND RESTORATION OF WORKS OF ART
Autorzy:
Koss, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/538783.pdf
Data publikacji:
2003
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Międzyuczelniany Instytut Konserwacji i Restauracji Dzieł Sztuki
polska szkoła konserwacji
Opis:
Arash liquidation of the research basis for the Ateliers for the Conservation of Historical Monuments during the 1990s as well as the ensuing dispersal of the laboratory and scientific staff became the reason why the only centres which continue the tradition of the Polish conservation school are institutions of higher learning. Unfortunately, the latter still deal with assorted financial, technical and organisational problems. None of the schools of higher learning which train conservators is capable of tackling these problems independently. The establishment in December 1999 of the Interacademic Institute of the Conservation and Restoration of Works of Art at the Academies of Fine Arts in Warsaw and Cracow, which integrates the work conducted by representatives of academic centres and research units, made it possible to change the prevailing situation. The past four years devoted to the realisation of the statutory tasks of the Institute yielded broad interdisciplinary co-operation with numerous scientific-research units. This co-operation confirms the need for integration for the sake of educational ventures and the development of the contemporary science and art of conservation. The Institute, which also works abroad, undertakes tasks of particular importance for culture, involving extremely complex research and conservation problems, and calling for the employment of the best qualified personnel. Furthermore, it proposes new standards of conservation and guarantees high quality. The strategy of its activity is defined together with the Institute’s Scientific Board, composed of outstanding scientists and practitioners, representatives of academies both training conservators and collaborating with the Institute.
Źródło:
Ochrona Zabytków; 2003, 3-4; 137-140
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
SZTUKA KONSERWACJI I RESTAURACJI THE ART OF CONSERVATION AND RESTORATION Red. Iwona Szmelter i Monika Jadzińska, Przedsiębiorstwo Wydawnicze Rzeczpospolita SA, Międzyuczelniany Instytut Konserwacji i Restauracji Dzieł Sztuki Akademii Sztuk Pięknych w Warszawie i Krakowie, Warszawa 2007
SZTUKA KONSERWACJI I RESTAURACJI (THE ART OF CONSERVATION AND RESTORATION) Ed. by Iwona Szmelter and Monika Jadzińska. Publisher: Przedsiębiorstwo Wydawnicze Rzeczypospolita SA. Co-publisher: Międzyuczelniany Instytut Konserwacji i Restauracji Dzieł Sztuki Akademii Sztuk Pięknych w Warszawie i Krakowie, Warszawa 2007
Autorzy:
Rouba, Bogumiła J.
Powiązania:
https://bibliotekanauki.pl/articles/537451.pdf
Data publikacji:
2007
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
Cesare Brandi
koncepcja Brandiego
Sztuka konserwacji i restauracji
wspołczesny rozwój metod badawczych
podstawy polskiej szkoły konserwacji i restauracji
Opis:
His publication, with the subtitle: Cesare Brandi (1906-1988), jego myśl i debata o dziedzictwie. Sztuka konserwacji-restauracji w Polsce (Cesare Brandi /1906-1988/, His Thought and the Heritage Debate. Art of Conservation-Restoration in Poland), contains opinions presented at a conference held under the same title at the Museum Palace Orangery in Wilanow on 5-6 October 2007. The collection documents an important event and considers the theoretical and practical achievements of Polish and European conservators; at the same time, it is part of the worldwide celebrations of the hundredth anniversary of the birth of the eminent Italian scholar, and discusses his accomplishments and their significance for the contemporary protection of the cultural heritage. The four parts of the book deal with various aspects of conservation-restoration, introduced by Prof. Iwona Szmelter. The authors of the first part analyse the role played in Polish conservation-restoration by the conceptions launched by Cesare Brandi. The second group of articles considers contemporary problems and challenges, which include, i. a. modern research and conservation techniques, new forms of heritage protection, and innovative forms of communication with society as regards this particular domain. Successive material pertain to the past and present of Polish conservation-restoration and the outstanding authors of Polish academic conservation centres, Brandi’s contemporaries. The final part delves into essential conservation theories and their references to praxis – concrete cases, complexes of monuments, and the activity of teams of experts. The presented studies testify to the close connections between conservation-restoration and assorted disciplines of the arts, exerting a prominent impact on the further fate of historical monuments.
Źródło:
Ochrona Zabytków; 2007, 2; 117-120
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Etyka w ochronie i konserwacji dziedzictwa sztuk wizualnych
Ethical considerations in the protection and conservation of the visual arts
Autorzy:
Szmelter, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/21151091.pdf
Data publikacji:
2022
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
etyka w ochronie dziedzictwa
kluczowe teorie konserwacji
deontologia konserwatorska
zasady konserwacji sztuki autograficznej
filary opieki nad sztuką wizualną
zrównoważony rozwój w konserwacji
adaptacyjne funkcje budynków
ethics in heritage conservation
key conservation theories
deontology
principles of conservation in autographic art
foundations of care over visual art
adaptive functions of buildings
sustainability in conservation
Opis:
Przedmiotem niniejszego opracowania jest analiza współczesnej roli deontologii konserwatorskiej wraz z odniesieniem do znaczenia moralnych zasad ochrony dziedzictwa sztuk wizualnych na linii czasu. Celem badań jest aktualizacja roli etyki konserwatorskiej zarówno w każdym indywidualnym przypadku, jak i w głębszym rozumieniu znaczenia etyki sensu largo. Rozważania o etyce w ochronie zapisu obecności człowieka oparte są na nadziei na trwanie dziedzictwa sztuk wizualnych „jak długo będzie istniał świat”. Od zarania cywilizacji homo sapiens kierował się instynktem zachowania spuścizny przodków. Przykład przetrwania sztuki w jaskini Chauveta sprzed ponad czterdziestu tysięcy lat ukazuje, że od początku w centrum zagadnień cywilizacyjnych jest relacja obiektu i człowieka, który zajmuje się ochroną dziedzictwa wytworzonej przez siebie kultury. Współczesne spojrzenie na dziedzictwo sztuk wizualnych opiera się na zrozumieniu oświeceniowego kontekstu powstania deontologii konserwatorskiej i aktualizacji jej znaczenia. Analiza kluczowych teorii przedstawia różne podejścia konserwatorskie, w tym traktowanie zabytków ruchomych i nieruchomych i innych dóbr kultury, m.in. sztuki współczesnej. Zrozumienie zasad postępowania i rozszerzonych filarów teorii konserwatorskich toruje drogę do wzmocnienia badań naukowcom, konserwatorom, ekspertom i studentom. Deontologia leży u podstaw ich pracy. Wpływa także na praktykę w szerokim zakresie dziedzictwa, dóbr kultury, sztuki autograficznej w tradycyjnych dyscyplinach, jak i sztuki allograficznej. Artykuł ten ma rozszerzyć zakres teorii związanej z ochroną sztuk wizualnych, ich praktyczną konserwacją, restauracją, ekspozycją i adaptacją we współczesnym, partycypacyjnym społeczeństwie, a także zaangażować odbiorców. Kto chce kształtować przyszłość dziedzictwa, powinien tworzyć ją dzisiaj, opierając się na zasadach etyki.
This study analyses the contemporary role of conservation ethics with regard to the importance of applying moral principles to preserve the heritage of the visual arts over time. The aim of the study is to update the role of conservation ethics both in individual cases and in the meaning of ethics in broad terms. Taking ethical considerations into account when safeguarding records of human presence is based on the hope that the legacy of the visual arts will last for ‘as long as the world exists’. Since the dawn of civilization, man has been driven by the instinct to preserve the legacy of his ancestors. The example of the survival of art from more than forty thousand years ago in the Chauvet Cave shows that from the beginning, the relationship between objects and man – who is concerned with preserving the legacy of the culture he has created – has been a central issue for civilization. Looking at the heritage of the visual arts from today’s standpoint is based on understanding the emergence of conservation ethics in the context of the Enlightenment, and updating its meaning. An analysis of the key theories reveals there are various approaches to conservation, including the treatment of movable and immovable artefacts and other cultural assets, including contemporary art. Understanding the rules of conduct and the broadened approach to conservation theories paves the way for scholars, conservators, experts and students to enhance their research. Deontology, i.e. ethics, lies at the heart of their work. It also influences the practices across a wide range of heritage, cultural property, autographic art in traditional disciplines, as well as allographic art. This article is intended to expand the scope of the theory related to the preservation of the visual arts, their practical conservation, restoration, display and adaptation in today’s participatory society, as well as to involve viewers. Those who want to shape the future of their heritage should create it today based on ethics.
Źródło:
Ochrona Zabytków; 2022, 2; 7-37
0029-8247
2956-6606
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:
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:
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:
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:
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

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