Autor: Furdyna, Józef - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Odkrycie i konserwacja polichromii renesansowej na sklepieniu prezbiterium kościoła parafialnego w Lipnicy Wielkiej
DÉVOILEMENT ET CONSERVATION DE LA POLYCHROMIE DE LA RENAISSANCE SUR LA VOUTE DU CHOEUR DE L’ÉGLISE PAROISSIALE À LIPNICA WIELKA
Autorzy:: Furdyna, Józef
Powiązania:: https://bibliotekanauki.pl/articles/535693.pdf
Data publikacji:: 1969
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: kościół w Lipnicy Wielkiej
polichromia rokokowa
konserwacja polichromii
polichromia renesansowa
Opis:: L ’église à L ip n ic a tir e son orig in e de la 2-ème m o itié du X lV -èm e siècle. C ’e s t u n b â tim e n t c o n s tru it en p ie rre s flu v ia le s à un e nef su r p la n g o th iq u e fla n q u é d ’e scarp es. Les vo û tes du ch o eu r s’é ta le n t su r des croisées à d o u b le trav é e . Dans la s tr a tig r a p h ie des couches de c rép is e t de l ’e n d u it sec d e la v o û te du ch o e u r p a r a is s e n t d eu x couches de p o ly ch rom ie — une, e x té rie u re , p ro v e n a n t de la fin du X V IIIe s. e t u n e a u tr e qui se tro u v a it su r la 3-èm e couche des tem p s de la R en a issan c e p ro v e n a n t b ie n p ro b a b lem e n t de la I- è r e m o itié du X V IIe s. Vu le trè s m a u v a is é ta t de co n se rv a tio n de la p o ly ch rom ie sty le ro c a ille , ap rè s l ’éx e cu tio n de la complète d o c um en ta tio n , elle fu t en lev é e afin q u e 1 on p u isse p ro c é d e r à la c o n s e rv a tio n de la couche de p o ly ch rom ie a n té r ie u re , assez b ien co n se rv é e , s ’é te n d a n t su r to u te la su rfa c e de la vo û te , de 55 m 2 e n viron. La p o ly ch rom ie du X V IIIe s. r e p r é s e n ta it d ans la p a rtie c e n tr a le d e la voûte, une scène de la D o rmitio n de la Vierge; dans les 4 lu n e tte s c o rre sp o n d an te s , les effigie s des P è re s de l ’Eglise e t s u r le s p e n te s du b e r ceau de la vo û te , e n tre la c é s avec des m o tifs ro c a ille , les o rn em e n ts de p e tite s fle u rs . L a p o ly ch rom ie é ta it m a in te n u e d an s des tons d é lic a ts où d om in a ie n t des fonds g ris ou c en d ré s, e x é cu té s se lo n la te ch n iq u e visqueuse. Au mom en t où l ’on p ro c éd a au x tra v a u x de co n se rv a tio n , son é ta t g én é ra l de c o n se rv a tio n ne d é p a ss a it pas 30°/о. La p o ly ch romie dévoilée de la R en a issan c e e st d ’un c a ra c tè re p u rem e n t dé co ra tif. S u r u n fo n d c la ir u n ifo rme , g ris -ja u n â tr e , le p e in tre a dessiné, avec d e x té rité e t u n e tr è s h a u te con n a issan c e de l ’a r t p la s tiq u e , des e n tre la c em en ts de p la n te s e t de fleu rs, d ’oiseaux e t d ’é lém e n ts fig u ra tifs an tro p om o rfiq u e s . Au milieu de la voûte, dans un o val c e rn é d ’en tre la c s , se tro u v e un e im ag e de la S a in te Vierge de Częstochowa. S u r l ’in tra d o s de l ’arc de triom p h e se tro u v e n t les symboles de la Passio n de No tre Se ig n eu r: deux anges a ilé s et, au c en tre , la tê te du C h ris t co u ro n né e d ’é p ines. Le p ro g ram m e ré a lis é de c o n se rv a tio n v isa it, hors la d o c um e n ta tio n complète: la fix a tio n des crépis m a l jo in ts , à le u r base, p a r des in je c tio n s de p o ly a c e ta te de v y n ile acéto n iq u e avec rem p lis s e u r de p ie rre -p o n c e , le com p lè tem en t des p e rte s des crépis e t de l ’e n d u it sec à l ’aide d ’un composé de ch au x e t de sab le ou de p o ly v in y le e t p ie rre -p o n c e , en su ite l ’ap p lic a tio n su r ces place s de blanc à ch au x , n e tto y ag e de la su rfa c e de la p e in tu re et, p o u r fin ir, un p o in tillag e selon la m é th o d e de ra ie s ob liq u e s dans un ton plu s c la ir que l’en to u rag e . I a p o ly ch romie a été consolidée p a r un e solution d ’en v iro n 3% de p o ly a c e ta te de v in y - le ac é to n iq u e dans l ’alcool é th y liq u e . I e com p lè tem en t des m an q u e s s u r l ’é te n d u e de la p o ly ch romie de la R enaissance re v ie n t au to ta l à 20fl/o en v iro n de sa surface. La p o ly ch romie conservée, v u son gen re e t son sty le conformes à l ’épo q u e ainsi qu e c e rta in e s données a r chivâtes — d ém o n tre selon to u te p ro b ab ilité , sa p ro ven an c e de la fin du I - e r q u a r t du XVIIe siècle. Le soussigné e st l’a u te u r de la d éco u v e rte e t des tra v a u x de co n se rv a tio n de la po ly ch romie envisagée.
Źródło:: Ochrona Zabytków; 1969, 4; 296-302
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Artystyczna funkcja pracy konserwatora (Artykuł dyskusyjny)
THE ARTISTICAL FUNCTION OF THE CONSERVATOR’S WORK
Autorzy:: Furdyna, Józef
Powiązania:: https://bibliotekanauki.pl/articles/535925.pdf
Data publikacji:: 1970
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: konserwator-artysta
sztuka dawna
sztuka współczesna
teoria konserwacji
dokumentacja konserwatorska
Opis:: To throw the light on some doubtful problems connected with the work of a conservator acting as an artist was the author’s intention in preparing of his article. For his considerations were taken into account both the art of the past and that modern seen from the point of view of their social function with regard to actual cultural requirements and basing on elements of the art and artistic production theory. Going on an assumption that the monuments of art affected by the action of time and under influence of local conditions are subjected to constant changes and destruction it may be generally stated that the scope of conservation in equal measures consists in protection and preservation of both the documentary and artistic values present in the works but also in the aesthetical and artistical preparation and arranging of the objects subjected to conservation for utilitarian purposes. As has already many times been emphasized in his theoretical publications and practically applied solutions by the late Professor J. E. Dutkiewicz the conservation so meant may, and in several cases should display an artistically active and creatively orientated attitude. As an obligatory rule in conservation should be accepted the striving to get the most precisely defined truth about the work of art — comprising the historical, material, content, and artistic truth in the object by itse lf representing an authentic record of the time, style, place and ideology. In his efforts aimed at the practical defining the precise truth about the work the conservator as an executor should possess a good deal of manual abilities and also be conscious in his choice of technological methods and possibilities of historical and style argumentation. As the manual abilities of a conservator are to be understood both the skill and artistry able to subordinate his activities to the final, purely artistic result. The problem, however, does not merely consist in the active apprehension of conservation as an one of artistic disciplines. A considerable number of works of art has come up to our days in fragmentary forms. In the proper elaboration, arrangement and organisation on a wall, within an interior, in a sculpture or picture of authentic elements are to be sought the possibilities and in some cases even the artistic and utilitarian sense of the conservator’s action. Since the conditionings of an existence are not only contemporary but also historical ones, in his search for authenticity in works which frequently enough is not linked with a single author or even the single historical period he must form these works purposefully, by his creative will, at the same time furnishing them with a documentary force and binding them with the context of the local artistic realities. A purposeful arrangement of an ancient work of art in a neighbourhood of modern elements or with a linkage to the new social, ideological, educational or utilitarian functions frequently results in a quite unexpected, artistically modern expression. And also in this respect it may be considered as the creative act from the other artistic disciplines differing only by its kind and „taste” of engagement. The conservator’s ex e cu tion in Poland, repudiating the formerly observed rules of the style purity, the ignoring of the cultural context of the work, the belief that the work of art represents a pure product of an artistic concept as such deserving the extension of its life, is rising nowadays to the level of an authentic artistical discpline with its strictly determined and unique, own peculiarities. As the expression of such approach to this profession may be considered the fact that those w illing to act as conservators are being trained mainly at the Academies of Fine Arts and within the final period of their studies specialising in their respective lines of the future activities. At the end of his article the author makes an attempt to determine the terms — fine arts and beautiful arts, relating them to the specialised section of the Union of Polish Artists which, according to its statuary outlines, is being understood as a kind of professional community. Within this community there is a place for different artistical orientations, including the s.c. applied art, to which the conservation is closely related being today lastingly connected with the programme of building the culture of the nation who has suffered such immense losses in her history.
Źródło:: Ochrona Zabytków; 1970, 4; 243-249
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Odkrycie i konserwacja XVI-wiecznej polichromii w kościele parafialnym w Płazie
THE DISCOVERY AND CONSERVATION OF THE 16TH CENTURY POLYCHROMY IN THE PARISH CHURCH AT PLAZA, POLAND
Autorzy:: Furdyna, Józef
Powiązania:: https://bibliotekanauki.pl/articles/537548.pdf
Data publikacji:: 1972
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: kościół parafialny w Płazie
zabytkowe polichromie w Płazie
Uciszanie burzy na morzu
punktowanie
Opis:: Within his p re s e n t p u b lic a tio n th e a u th o r deals with th e discovery and co n se rv a tio n of an an c ie n t p o ly chromy in th e s a n c tu a ry of th e p a rish ch u rch a t Płaza, Chrzanów d is tric t. The discovery in q u e stio n was made in 1969 in connection w ith p re p a ra tio n s u n d e r tak en with th e p u rp o se to ex e cu te a .series of new m u ra l p a in tin g s. As a re su lt of p re lim in a ry co n se rv a tin g tre a tm e n ts the 16th c e n tu ry p o lychromy has been found u n d e r th e layers of p la s te rs an d p rim e rs on th e whole su rfa c e of b a rre l v au ltin g an d p a rtly on walls fo rmin g ex - ten tio n s of th e v a u ltin g su rfaces. The an a ly sis of a rtistic value, th e sta te of p re s e rv a tio n , th e time of its execution an d co n seq u en tly th e co n se rv a tio n of th e said po ly ch romy w e re o rd e red by th e Voivodship Cons e rv a to r’s Office, Cracow to a Group of A rtistic Ateliers “ARA” , Cracow. The co n se rv a tin g tr e a tm e n t p ro p e r has been divided into two stages. The fir s t of th em inc lu d ed th e r e vealing of p o lychromy from b en e a th of p la s te r and p rim e r lay e rs, and th e p re p a ra tio n of a d e ta iled d r a wing an d p h o to g rap h ic d o cumentation. Within th a t second th e co n se rv a tio n tr e a tm e n t was begun s ta rtin g w ith th e su b -p la s te r in jectio n s, mech an ical an d p a rtly chemical cleaning of th e rev e a led p a in ted lay e r, filling of losses in m o r ta r by th e use of silic a -lim e p u tty an d also w ith re to u ch in g stip p lin g of th e polychromy itself. D u rin g th e co n se rv a tio n a series of la b o ra to ry te s ts h a s b e en c a rried out with th e aim to d e te rm in e th e composition of p la s te rs and paints. I t has been fou n d th a t th e polychromy was laid upon th e lime p rim e r an d on th e s in g le -lay e r, orig in al san d -lim e finings. Within a su rfa c e covering some 70 sq. m of p a in tin g th e rem o v in g of p la s te r and p rim e r lay e rs did not e n co u n te r an y serious d ifficu ltie s wh en comp a re d w ith its o th e r portions. In th e m a in n av e an d side chapels w h e re no tra c e s of th e Ren a issan c e polychromy have been p re s e rv ed (th e ir fo u n d e r in 1576 was a local rector) th e gro u p of co n se rv a to rs h a s ex e cu ted th e en tire ly new m u ra l p a in tin g s.
Źródło:: Ochrona Zabytków; 1972, 3; 190-197
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Niektóre zagadnienia etyczne w teorii i praktyce konserwatorskiej
SOME ETHICAL PROBLEMS IN THE THEORY AND PRACTICE OF CONSERVATION
Autorzy:: Furdyna, Józef
Powiązania:: https://bibliotekanauki.pl/articles/537744.pdf
Data publikacji:: 1972
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: etyka w praktyce konserwatorskiej
autentyzm
obiektywizm
nakłady na konserwację zabytków
Opis:: The ethical problems of conservation discussed by the author in his present work consist, in the first line, of competences and responsibilities following from both the adopted principles of conservation and standards of practical activities that have been worked out in the course of practice. The competences of an artist-conservator constitute a result of his professional training which, in other words, may be described as acquisition of necessary amount of knowledge and practical abilities and skills and also gaining of a defined ideological attitude. The responsibility, however, is connected with assuring and guaranteeing of purposeful action considered from the viewpoint of the method, the means of action and the function of the work. The so considered set of problems includes also all motivations and intentions that are preceding the concrete decisions or actions whereas as an essential ethical criterion may be regarded both the proper motivations and the actions themselves. As the main ideological factor in motivation is to be regarded the humanist nature of the conservator’s work which has to meet the cultural needs of the community. By saying this the author does not mean a simple demand for values of certain type but the values themselves that may influence the directed cultural processes. In addition to factors connected with the profession alone and the professional or ideological motivations the results of actions undertaken by a conservator may frequently be quite basically affected by a number of objective factors such as, for instance, the organization and activities of administrative units in conservation authorities, the material supply, the development and equipment of ateliers or laboratories but also the characteristic features of the conservator’s personality, his sense of fellowship, honesty or readiness to convey his experience to others without any outlooks for personal profits and so forth. It must, however, be emphasized that only a small share of the above requirements of the conservator’s practical activities is being met usually. There is, for example, an apparent lack of smoothly working laboratories or frequently observable shortages in materials or tools. In several instances it proves impossible to obtain the full informative material that may be inevitably needed for taking and carrying out of decision m conservation practice. Such situation is obviously limiting the reasoned forecasting of results of actions undertaken by a conservator, at the same time increasing the share of risks and causing ethical uncertamity in professional respect. The conservators in this country h a v e , no doubt, every reason to be proud of their achievements, but their activities, in view of specific needs, are still far from adequacy. As consequence of financial troubles at least 50 per cent of skilled conservators and restorers are not properly employed or are employed in forms conflicting with their skills and abilities. This extremely difficult situation prevailing in art of conservation in this country should be subjected to careful analysis and at the same time as one of urgent tasks must be regarded the further improvement of organization, this of execution and that of regulations ruling the wages.
Źródło:: Ochrona Zabytków; 1972, 4; 264-269
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Konserwacja malowideł ściennych w kościele św. Mikołaja w Bejscach
TRAVAUX DE CONSERVATION DES PEINTURES MURALES DANS LE CHOEUR DE L’ÉGLISE ST. NICOLAS À BEJSCE
Autorzy:: Furdyna, Józef
Powiązania:: https://bibliotekanauki.pl/articles/538929.pdf
Data publikacji:: 1965
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: malowidła ścienne
kościół św. Mikołaja w Bejscach
Bejsce
kościół gotycki
polichromia gotycka
wspornik
prezbiterium
znaki kamieniarskie
punktowanie polichromii
kazeina wapienna
polioctan winylu
Opis:: L’église gothique à Bejsce fu t construite vers la fin du XIV-me siècle en brique avec éléments en pie rre de taille (nervures de voûte, clefs, arcs diu transept, baies d e fenêtres etc.). La polychromie gothique a été découverte en automne 1963 sous deux couches de crépi e t sous environ sept couches de blanc de chaux. Elle s’étend su r une surface de 34 mètres carrés, et, à l’exception de la place occupée par le tombeau de E. Firlej, style ren a issance, la polychromie même est restée en principe intacte. Elle rep résen te l ’lhistoire de la Rédemption dans les scènes suivantes: Annonciation, Adoration des Rois Mages, Flagellation, 2 Crucifixion, Ecce Homo, Ascension (mur cud), puis, Adoration des Rois Mages la Cène, V'ir Dolorum (mur nord). Au mur et dans le fond du m a ître -a u te l se trouve la scène du Jugement dernier. La scène des Péchés Capitaux e t la peinture de St. Cristophe s’apparentent de loin à la base thématique générale. Les tra v a u x de conservation consistaient dans le détachement des couches de crépi e t d u blanc de chaux de la peinture, dans les trav au x d e conservation eux-mêmes et dans la restitution de son ca ractère primordial. Les m an ques du crépi é ta ie n t remplies de mortier calco- -sableux e t les p erte s en polychromie é taien t pointées d’une raie verticale p a r des pigments en poudre à base du lian t du polyacétate de vinyle. On s’est abstenu de po in te r les fragments contestables au point de vue de leur couleur ou dessin. Les crépis se d é ta ch an t du m u r ont été fixés à l’aide d’injections d’une dispersion du polyacétate de vinyle. La polychromie est étendue su r un crépi dur, peu corrosif. Elle est effectuée à base du 'blanc de chaux humide en appliquant probablement la technique calcaire avec addition minime du liant organique. On p eu t discerner dans la couche du crépi des lignes d ’intersection qui perme ttent d’attester que les tr a vaux de pein tu re ont été exécutés à la journée. Au dessus de la polychromie on remarque une tram e en brique avec des joints recouverts de couleur blanche. Au cours de trav au x on a dévoilé des niches maçonnées dans les murs e t les arcs, ainsi q u ’une dizaine de marques su r pierres. On a enlevé le retable du m a ître -au te l e t deux épitaphes du XlX-me siècle. À la voûte, deux voussures ont conservé des fragments de la polychromie du XVII-me siècle et le re s te des surfaces a été recouvert d‘une couleur u n iforme. En ré su lta t de trav a u x de conservation, la documentation suivante fu t établie: relevé des t r a vaux, dessins illu s tran t l ’é ta t de conservation à l ’échelle 1:1, photos e t essais techniques de laboratoire. Les trav au x fu re n t effectués p a r M. Joseph Furdyna et M. Jacques Radołowicz en été 1964. La polychromie découverte à Bejsce présente une oeuvre d ’a rt de plus grande valeur a p p a rten a n t au décor gothique des in té rieu rs religieux en Pologne.
Źródło:: Ochrona Zabytków; 1965, 4; 47-57
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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