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    Wyświetlanie 1-4 z 4
    Tytuł:
    IMPRESJONIZM ALEKSANDRA GIERYMSKIEGO NA PODSTAWIE KONSERWATORSKICH BADAŃ OBRAZU CHŁOPIEC NIOSĄCY SNOP
    THE IMPRESSIONISM OF ALEKSANDER GIERYMSKI UPON THE BASIS THE CONSERVATION STUDIES OF THE PAINTING 'BOY CARRYING A SHEAF'
    Autorzy:
    Doleżyńska-Sewerniak, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/537864.pdf
    Data publikacji:
    2007
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    GIERYMSKI ALEKSANDER ('BOY CARRYING A SHEAF')
    Aleksander Gierymski
    Chłopiec niosący snop
    impresjonizm
    malarstwo francuskie
    technika fałszywych kolorów
    kontrast symultaniczny
    prawo kontrastu sukcesywnego kolorów
    prawo barw komplementarnych
    Opis:
    A presentation of the painting 'Boy Carrying a Sheaf' by Aleksander Gierymski as seen by a conservator-technologist. Historians of art regard this composition to be one of the first and most important Impressionist works in the oeuvre of an artist who experimented with painting techniques. It was precisely the manner of executing this canvas that betrayed inspiration by French painting, which became the reason for subjecting the composition to interdisciplinary conservation research intent on demonstrating the analogies of its technique and technology with Impressionist art. Up to now, 'Boy Carrying a Sheaf' had not been the object of meticulous interdisciplinary analyses. The conducted investigations made it possible to identify the painting material applied by the artist and the manner of his painterly approach. They displayed a number of essential workshop features characteristic for Gierymski's oeuvre, such as familiarity with the properties of the used material and the techniques applied for the purpose of attaining the planned effect. The studies also revealed that Gierymski was acquainted with technical novelties of the period and sought individual workshop solutions, confirmed by his treatment of technology, stressed by historians of art, and the aptness of the laudatory appraisal of his works, formulated by the history of art.
    Źródło:
    Ochrona Zabytków; 2007, 4; 67-80
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    PROBLEMATYKA TECHNOLOGICZNA I KONSERWATORSKA DZIEŁ MALARSKICH XAWEREGO DUNIKOWSKIEGO
    THE TECHNOLOGY AND CONSERVATION OF CANVASES BY XAWERY DUNIKOWSKI
    Autorzy:
    Rouba, Bogumiła J.
    Arszyńska, Joanna
    Doleżyńska, Ewa
    Szelwach, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/539532.pdf
    Data publikacji:
    2005
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Xawery Dunikowski
    malarstwo
    restauracja obrazów
    konserwacja
    Opis:
    The reason for studying the paintings by Xawery Dunikowski was the conservation and restoration of six canvases from the large set of works by this artist, conducted by the Institute for the Conservation of Paintings and Polychromed Sculpture. The examined compositions included three canvas paintings, one collage, and two paintings on plywood, featured in the Królikarnia Branch of the National Museum in Warsaw. One of the plywood paintings was executed on both sides. Despite numerous conservation undertakings performed in the course of recent years, and encompassing not only the paintings under discussion but also the whole Królikarnia collection, so far no publications has discussed the conservation, technical construction, and execution technology of works by X. Dunikowski. The purpose of the presented operations was to offer basic knowledge which in the future will facilitate all sorts of ventures focused on the conservation, restoration and prophylactic protection of the artist’s oeuvre. The research has made possible a technical and technological analysis and an examination of the state of the preservation and conservation of the works of this prolific artist. At the same time, methods which could serve as a basis for the conservation of his whole oeuvre have been devised. The selection of paintings involved an attempt at creating a set which would present damage typical for all the Dunikowski paintings. The titular conservation and restoration posed a number of problems caused primarily by the artist’s approach to his workshop. The majority of the damage is the result of an incorrect choice of material. Certain sources indicate that Dunikowski relegated all technical issues to the sidelines, and apparently was unconcerned with the durability of his works. At the very outset, therefore, we should ask about the extent to which one should interfere in cases such as this, and the range of the ensuing conservation, as evidenced by the intense discussion about the unusual appearance of the painting entitled Abstract Composition with a Skull. It would be difficult to ascertain unambiguously whether the uneven canvas around the cardboard attached with stiff glue is the effect of the lengthy impact of atmospheric factors. Equally controversial proved to be the purposefulness of gluing and supplementing damaged corners in the Portrait of a Daughter (obverse) and the Portrait of a Girl (reverse). Since the artist painted the portraits on an already damaged base, such an undertaking would not be tantamount to a restoration of the original state, but constitute a creation. Ultimately, it was decided to opt for moderation in restoring the state of the monument according to our vision of its original condition. Certain technical and aesthetic problems are posed by the exposition of this two-sided painting, since the obverse had been executed across the rectangular plywood, and the reverse – longitudinally. The above considered examples of complex problems prove that in this particular case conservation was by no means routine. This experience made it possible to once again heighten our awareness of the fact that the conservation and restoration of modern art remain an open issue, and that questions which only at first glance appear to be of minor importance actually call for individual treatment.
    Źródło:
    Ochrona Zabytków; 2005, 4; 47-60
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Materiały konserwatorskie stosowane w dawnej Pracowni Konserwacji Malarstwa i Rzeźby w Krakowskich Sukiennicach
    Autorzy:
    Doleżyńska-Sewerniak, Ewa
    Zygier, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/942514.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    varnish
    tempera
    copal en pâte
    Józef Karmański
    werniks
    Opis:
    The article discusses the history of the former Painting and Sculpture Conservation Workshop at the Kraków Town Hall and results of research concerning historical materials from the beginning of its operation. The substances in labelled factory packaging were examined using gas chromatography–mass spectrometry (GC-MS), Raman spectroscopy (RS) and Fourier transform infrared spectroscopy (FTIR). The results of conservation studies were then compared with available sources concerning manufacturers of the materials, as well as their product range and literature concerning technology used. An average time of the material production, their content and purpose were estimated on the basis of the analysis. It enabled the verification of substances identified in artefacts, which is of utmost importance for the conservation process. Surviving documents and reagents allow for the assessment of the "wealth" of media once used by the workshop and enrich the knowledge about art conservation in Poland.
    Źródło:
    Opuscula Musealia; 2012, 20; 109-128
    0239-9989
    2084-3852
    Pojawia się w:
    Opuscula Musealia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nieinwazyjne badania spektroskopowe rysunków Szymona Czechowicza i jego uczniów
    Non-invasive spectroscope analysis of sketches by Szymon Czechowicz and his students
    Autorzy:
    Doleżyńska-Sewerniak, Ewa
    Jendrzejewski, Rafał
    Klisińska-Kopacz, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/217619.pdf
    Data publikacji:
    2019
    Wydawca:
    Stowarzyszenie Konserwatorów Zabytków
    Tematy:
    Szymon Czechowicz
    warsztat artysty w XVIII wieku
    identyfikacja narzędzi rysunkowych
    badania nieinwazyjne
    RS
    XRF
    NIR
    IRFC
    an artist’s kit in the 18th century
    identification of drawing tools
    non-invasive research RS
    Opis:
    Badania przedstawione w niniejszej pracy miały na celu scharakteryzowanie narzędzi rysunkowych stosowanych w warsztacie Szymona Czechowicza (1689–1775). Badaniom poddano 41 prac pochodzących ze zbiorów Muzeum Uniwersytetu Jagiellońskiego, Muzeum Narodowego w Krakowie oraz Muzeum Narodowego w Warszawie. Rysunki były badane za pomocą technik nieinwazyjnych, takich jak spektroskopia Ramana (RS), spektroskopia fluorescencji rentgenowskiej (XRF), technika „fałszywych kolorów” (IRFC) oraz bliska podczerwień (NIR). Trzy próbki poddano również energodyspersyjnej mikroanalizie rentgenowskiej (SEM-EDS). Badania pozwoliły na analizę składu chemicznego linii rysunków oraz rozpoznanie wśród narzędzi rysunkowych: sangwiny oraz czerwonej kredki składającej się z czerwonej ochry, minii oraz białych wypełniaczy w postaci kredy i gipsu, sepii, bistru, czarnego tuszu węglowego, ołówka grafitowego, węgla a także czarnej kredki (z czerni kostnej). Zidentyfikowane materiały są charakterystyczne dla XVIII wieku oraz obszarów geograficznych, na jakich artysta działał. Wyniki przeprowadzonych badań mogą być wykorzystywane do porównań z innymi szkicami przypisywanymi malarzowi w celu weryfikacji ich atrybucji.
    The research presented in this study was to characterise the drawing tools used by Szymon Czechowicz (1689–1775). 41 works from the collections of the Jagiellonian University Museum, the National Museum in Krakow and the National Museum in Warsaw were analysed. The sketches were examined using the non-invasive technologies such as: Raman spectroscopy (RS), x-ray fluorescence spectroscopy (XRF), infrared false colour (IRFC) and near-infrared (NIR). Three samples also underwent Energy Dispersive Xray microanalysis (SEM-EDS). The research allowed for analysing the chemical content of drawing lines and identifying the following among drawing tools: sanguine and a red crayon consisting of red ochre, red lead and white fillers such as chalk and gypsum, sepia, bistre, carbon-based black ink, lead pencil, charcoal and ivory black (bone char). The identified materials are typical for the 18ᵗʰ century and the geographical areas in which the artist worked. The results of the carried out research can be used for comparison with other sketches attributed to the painter in order to verify the claims.
    Źródło:
    Wiadomości Konserwatorskie; 2019, 59; 133-144
    0860-2395
    2544-8870
    Pojawia się w:
    Wiadomości Konserwatorskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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