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    Wyświetlanie 1-3 z 3
    Tytuł:
    O dwóch konserwacjach piętnastowiecznego obrazu "Ogród Mistyczny" z Gościeszyna
    Autorzy:
    Wolska, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/537159.pdf
    Data publikacji:
    1963
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Madonna z Gościeszyna
    „Ogród mistyczny”
    konserwacja obrazu z Gościeszyna
    niewłaściwa konserwacja
    niszcząca ingerencja
    Gościeszyn
    Źródło:
    Ochrona Zabytków; 1963, 3; 39-44
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „ZAMKI, GRODY, RUINY – WALORYZACJA I OCHRONA” Międzynarodowa konferencja, Ciechanowiec, 22-24 października 2009 r.
    ”CASTLES, STRONGHOLDS, RUINS – VALORISATION AND PROTECTION” International Conference, Ciechanowiec, 22-24 October 2009
    Autorzy:
    Olczyk, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/539330.pdf
    Data publikacji:
    2008
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Muzeum Rolnictwa im. ks. Krzysztofa Kluka
    Ciechanowiec
    ochrona zabytków obronnych
    architektura obronna
    historyczne ruiny zamków
    ingerencja w substancję zabytku
    Opis:
    An international conference on ”Castles, Strongholds, Ruins – Valorisation and Protection” took place in 22 -23 October at the Rev. Krzysztof Kluk Museum of Agriculture in Ciechanowiec. The organisers of the meeting, which summed up work on the principles of the valorisation and conservation of the titular historical monuments, were the Marshal’ s Office of the Voivodeship of Podlasie and the ICOMOS Polish Committee together with the National Heritage Board of Poland and the Rev. Krzysztof Kluk Museum of Agriculture in Ciechanowiec. The conference was attended by participants from Poland, Ukraine, Belarus and Lithuania, including representatives of ICOMOS, the National Heritage Board of Poland, and assorted Regional Centres for the Protection of Historical Monuments, services dealing with the protection of historical monuments, scientific milieus, cultural institutions and self-government authorities. The presented event was a continuation of a cycle of meetings on the protection of historical ruins and castles, initiated in 2005. The main discussed theme was the protection of movable monuments at a time of commercialisation and modernisation. Many such monuments face the threat of irreversible deformation and damage associated with economic pressure and investments. Attention was also drawn to the necessity of a precise examination and verification of the resource of historical defensive monuments.
    Źródło:
    Ochrona Zabytków; 2008, 4; 12-13
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    PARA NIEZNANYCH LITERATURZE PORTRETÓW Z KRĘGU SZLACHECKIEGO KOŃCA XVIII W. PĘDZLA JÓZEFA FAWORSKIEGO. KONSERWACJA I PIERWSZE BADANIA TECHNIKI MALOWANIA
    TWO UNKNOWN PORTRAITS BY JÓZEF FAWORSKI FROM THE GENTRY RANGE OF THE LATE EIGHTEENTH CENTURY. CONSERVATION AND FIRST STUDIES OF THE PAINTING TECHNIQUE
    Autorzy:
    Szpor, Joanna
    Soińska, Zuzanna
    Powiązania:
    https://bibliotekanauki.pl/articles/537894.pdf
    Data publikacji:
    2008
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    FAWORSKI JOZEF
    PAINTING TECHNIQUE (18TH C.)
    Józef Faworski
    portrety rodziny Wardęskich
    konterfekty Garbowskich
    portrety rodzinne
    malarstwo dworskie
    konserwacja obrazów
    przemalowania obrazów
    ingerencja w oryginał obrazu
    technika malowania
    Opis:
    The collection of nine portraits of the Wardeski family of the Godziemba coat of arms, salvaged from a manor house in Dalikowo in the land of Sieradz, presents a series of ancestors from the end of the eighteenth century to the early twentieth century. The conservation of the collection was conducted in 2003-2008 in the atelier of Professor Joanna Szpor at the Academy of Fine Arts in Warsaw as part of a course for students. In view of the original inscriptions on the reverse of the canvases it was necessary to apply the transparent doubling method; the genealogy of the family was illustrated with the portraits. The earliest pair of portraits of Teresa Garbowska born Krosnowska and her husband, Jozef Garbowski (1789), is still part of the current of eighteenth-century gentry painting. The reverse of both likenesses features the signature 'Jozef Faworski', who was one of the leading painters of this current. The heretofore-unknown portraits increase the number of canvases signed by him to a total of seven. Due to the visible composition changes in the portrait of Garbowska, the painting became the topic of an M. A. dissertation written by Zuzanna Soinska. Physical-chemical studies and a comparative analysis of the technique applied in the other portraits by Jozef Faworski made it possible to recreate and, for the first time, to describe his workshop. The conventions of the depiction of the Polish nobility were established, and the fashion observed by the wives - predictable. Faworski received commissions for portraits of married couples in assorted manor houses and then prepared canvases of similar sizes; the colour of the priming ground depended on the planned tones, and the artist had at his disposal a painted version of the so-called female portrait. As a rule, he executed the most frequently requested composition, i.e. from the hips up, with a hand holding a fan on a table, and all the attributes and ornaments of the fashionable gentlewoman, which, as in the case of Teresa Garbowska, the sitter could reduce or change in the last stage of completing the painting, when she was already posing for a rendition of the facial features. In the case of the discussed portrait the alteration was so considerable that only comparative studies of the binder from the 'unquestionably auteur' parts and the 'secondary fragments' revealed that they had been executed by Faworski in fat tempera with an addition of gum. The binder was 'combined' tempera composed of egg yolk, flax oil and cherry gum for a better cohesion of the paint. An analysis of the inscriptions on the reverse of the earlier studied portraits signed by Faworski and the newly discovered portraits of Teresa and Jozef Garbowski indicates that they were executed by the same author using a paintbrush - which called for considerable ease in guiding it and for recurring lettering. The presented research findings became the first description of the workshop of Jozef Faworski, an author of portraits from the range of gentry painting. They also provided directives for the conservation of the portrait of Teresa Garbowska.
    Źródło:
    Ochrona Zabytków; 2008, 2; 17-32
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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