Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.014
A. Piasecka, A. Podgórski, Alina Tomaszewska-Szewczyk
To the colour unification, at the reconstruction of decorative layer, various types of coloured film-forming products are used. They should be characterizing by excellent colour stability and good adhesion to the substrate. Colour stability of the coating depends on the chemical nature of the binder, of pigment or organic dye. Pigments or dyes must be soluble or should be compatible with the binder. Dimensions of the filler particles must be smaller than the wavelength of visible radiation (380–780 nm), so they don’t be scatter the light. In that case, even in small amounts, may give coloured coating with partial transparency. Pigments also may act as shielding materials for the deeper layer of macromolecular coating. This is a result of UV absorption only in the near-surface layer of the coating and barrier effect. Commercial, decorative paints, useful at conservation and restoration, based on natural resin e.g. mastic or on synthetic resins – acrylic, alkyd, ketone . This work shows the selected results obtained from laboratory tests of film-forming products made on the basis of various macromolecular binders.
{"title":"Metody imitatorskie uzupełniania dekoracji emalierskiej – scalenie kolorystyczne","authors":"A. Piasecka, A. Podgórski, Alina Tomaszewska-Szewczyk","doi":"10.12775/AUNC_ZIK.2017.014","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.014","url":null,"abstract":"To the colour unification, at the reconstruction of decorative layer, various types of coloured film-forming products are used. They should be characterizing by excellent colour stability and good adhesion to the substrate. Colour stability of the coating depends on the chemical nature of the binder, of pigment or organic dye. Pigments or dyes must be soluble or should be compatible with the binder. Dimensions of the filler particles must be smaller than the wavelength of visible radiation (380–780 nm), so they don’t be scatter the light. In that case, even in small amounts, may give coloured coating with partial transparency. Pigments also may act as shielding materials for the deeper layer of macromolecular coating. This is a result of UV absorption only in the near-surface layer of the coating and barrier effect. Commercial, decorative paints, useful at conservation and restoration, based on natural resin e.g. mastic or on synthetic resins – acrylic, alkyd, ketone . This work shows the selected results obtained from laboratory tests of film-forming products made on the basis of various macromolecular binders.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49508018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZiK.2017.003
F. Skibiński
Based on archive quarries, the article focuses on building history of several edifices created in Gdansk in the first half of the seventeenth century. The group examined here includes the Royal Granary (1606-1608), the so-called Old Farmacy (1636-1638), in fact a munition storage, and the so-called Small Armory (1643-1645), all financed by the city. Conclusions drawn from the scrutiny of town bills offers detailed knowledge of the history of these edifices and, in more general terms, of the building practices in seventeenth century Gdansk. The article also introduces several hitherto unknown figures engaged by the city authorities to carry out public commissions, including the building master Reinhold de Clerck who worked at the Old Farmacy and the Small Armory, and the sculptor and stonecutter Herman Knut (Knust) who created masonry for the former. In addition to that, it provides new information about the sculptor Wilhelm Richter, a continuator of the Van den Blocke enterprise who played a pivotal role in Gdansk in the middle of the seventeenth century. Responsible for creating the masonry and architectural detail for the Armory, he also worked at the Town Hall and the High Gate complex.
本文以档案采石场为基础，重点介绍了17世纪上半叶在格但斯克建造的几座建筑的建筑历史。这里考察的群体包括皇家粮仓（1606-1608）、所谓的老农场（1636-1638），实际上是一个军火库，以及所谓的小型军械库（1643-1645），所有这些都由城市资助。从城镇法案的审查中得出的结论提供了对这些建筑历史的详细了解，更一般地说，还提供了对17世纪格但斯克建筑实践的详细了解。文章还介绍了几位迄今为止不为人知的城市当局聘请的执行公共任务的人物，包括曾在老农场和小军械库工作的建筑大师Reinhold de Clerck，以及为前者创作砖石的雕塑家和石匠Herman Knut（Knust）。除此之外，它还提供了关于雕塑家威廉·里希特的新信息，他是范登·布洛克企业的延续者，在17世纪中期的格但斯克发挥了关键作用。他负责为军械库创造砖石和建筑细节，还曾在市政厅和高门建筑群工作。
{"title":"Przyczynki do dziejów nowożytnego budownictwa i kamieniarstwa w Gdańsku na podstawie historii budowy Spichrza Królewskiego (1606–1608) tzw. Starej Apteki (1636–1638) i Małej Zbrojowni (1643–1645)","authors":"F. Skibiński","doi":"10.12775/AUNC_ZiK.2017.003","DOIUrl":"https://doi.org/10.12775/AUNC_ZiK.2017.003","url":null,"abstract":"Based on archive quarries, the article focuses on building history of several edifices created in Gdansk in the first half of the seventeenth century. The group examined here includes the Royal Granary (1606-1608), the so-called Old Farmacy (1636-1638), in fact a munition storage, and the so-called Small Armory (1643-1645), all financed by the city. Conclusions drawn from the scrutiny of town bills offers detailed knowledge of the history of these edifices and, in more general terms, of the building practices in seventeenth century Gdansk. The article also introduces several hitherto unknown figures engaged by the city authorities to carry out public commissions, including the building master Reinhold de Clerck who worked at the Old Farmacy and the Small Armory, and the sculptor and stonecutter Herman Knut (Knust) who created masonry for the former. In addition to that, it provides new information about the sculptor Wilhelm Richter, a continuator of the Van den Blocke enterprise who played a pivotal role in Gdansk in the middle of the seventeenth century. Responsible for creating the masonry and architectural detail for the Armory, he also worked at the Town Hall and the High Gate complex.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41417062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/aunc_zik.2017.002
K. Witkowska
{"title":"Badania nad średniowiecznymi materiałami budowlanymi z zamku w Radzyniu Chełmińskim","authors":"K. Witkowska","doi":"10.12775/aunc_zik.2017.002","DOIUrl":"https://doi.org/10.12775/aunc_zik.2017.002","url":null,"abstract":"","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48259462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.006
Monika Jakubek-Raczkowska, Juliusz Raczkowski
At the turn of 14 th and in early 15 th century the sacred space of the Franciscan St Mary’s church in Torun was fully developed and adjusted to the mission and ministry of the Order of Friars Minor, equipped with altars, most important furniture and numerous paintings used in pastoral ministry and in encouraging lay piety. It was completed in the late 15 th cent., especially with woodwork (stalls, balustrades, crucifix). Decor and furnishing of ecclesiae fratrum (main altar, murals, choir stalls, as well as rood screen and its altars) are from today’s perspective much less palpable. Ecclesia laicorum is in that respect much better preserved (wall paintings, sculptures, baptismal font) or known against written sources (organ, cancel, grave plates) in spite of structural alterations and transformations resulting from denominational and functional changes. The analysed artefacts – though not so numerous, as the material sources significantly complement a skimpy archival base related with functioning of one of the most significant Prussian convents in Middle Ages.
{"title":"The organisation of liturgical space and its furnishing at the Franciscan Friars’ in late Middle Ages illustrated by an example of the Blessed Virgin Mary’s church in Toruń","authors":"Monika Jakubek-Raczkowska, Juliusz Raczkowski","doi":"10.12775/AUNC_ZIK.2017.006","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.006","url":null,"abstract":"At the turn of 14 th and in early 15 th century the sacred space of the Franciscan St Mary’s church in Torun was fully developed and adjusted to the mission and ministry of the Order of Friars Minor, equipped with altars, most important furniture and numerous paintings used in pastoral ministry and in encouraging lay piety. It was completed in the late 15 th cent., especially with woodwork (stalls, balustrades, crucifix). Decor and furnishing of ecclesiae fratrum (main altar, murals, choir stalls, as well as rood screen and its altars) are from today’s perspective much less palpable. Ecclesia laicorum is in that respect much better preserved (wall paintings, sculptures, baptismal font) or known against written sources (organ, cancel, grave plates) in spite of structural alterations and transformations resulting from denominational and functional changes. The analysed artefacts – though not so numerous, as the material sources significantly complement a skimpy archival base related with functioning of one of the most significant Prussian convents in Middle Ages.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45081971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/aunc_zik.2017.008
Bożena Szmelter-Faustek, J. Olszewska-Świetlik, M. Pawlikowski
{"title":"Typy złoceń i mineralogia farb w wybranych obrazach sztalugowych z XVII i XVIII wieku z rejonu dawnych Prus Królewskich","authors":"Bożena Szmelter-Faustek, J. Olszewska-Świetlik, M. Pawlikowski","doi":"10.12775/aunc_zik.2017.008","DOIUrl":"https://doi.org/10.12775/aunc_zik.2017.008","url":null,"abstract":"","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44360715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.010
Filip Pręgowski
Realism that began in the 1840s developed in the period of the radical changes of the society and civilization. The exponents of the realistic movement not only aimed to depict the contemporaneity but also intended to express their critical approach, which was the consequence of the observation of reality they undertook as well as the effect of the influence of progressive social thoughts. In the article we attempt to present the main topics of the 19th century artistic discourse which emerged in the context of the aesthetics of realism. For this purpose we trace the main inquiries expressed by French art criticism of the second half of the 19th century. Our intention is to include both enthusiastic and critical opinions since the questions they raised seem to be of major significance to the artistic movements of the 20th century as the echo of realism that was proposed by Courbet can be traced in the art of that period. Some of the inquiries remained important and are considered by the art today.
{"title":"„Być nie tylko malarzem”. O dyskursie artystycznym wokół dziewiętnastowiecznego realizmu w malarstwie francuskim","authors":"Filip Pręgowski","doi":"10.12775/AUNC_ZIK.2017.010","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.010","url":null,"abstract":"Realism that began in the 1840s developed in the period of the radical changes of the society and civilization. The exponents of the realistic movement not only aimed to depict the contemporaneity but also intended to express their critical approach, which was the consequence of the observation of reality they undertook as well as the effect of the influence of progressive social thoughts. In the article we attempt to present the main topics of the 19th century artistic discourse which emerged in the context of the aesthetics of realism. For this purpose we trace the main inquiries expressed by French art criticism of the second half of the 19th century. Our intention is to include both enthusiastic and critical opinions since the questions they raised seem to be of major significance to the artistic movements of the 20th century as the echo of realism that was proposed by Courbet can be traced in the art of that period. Some of the inquiries remained important and are considered by the art today.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43662199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/aunc_zik.2017.009
M. Jasiński, J. Nowosielski
Research on canvases and wooden supports used by Caravagesques based on paintings in Polish collections. The research on Caravagesques paintings’ grounds was conducted as part of an exploratory project: Technique and technology of caravaggisti paintings based on polish museum collections. The project was financed by National Science Centre (2013/09/N/ HS2/02116, PRELUDIUM V) and it is a subject of doctoral thesis carried out under prof. Jerzy Nowosielski’s guidance. The new aesthetics emerging from the style of Michealangelo Merisi, popularly known as Caravaggio, started a trend of imitating the rules of luminism, new forms and themes among artistic communities of Italy, Spain, the Netherlands, Germany and France. The artists adopted Caravaggio’s technique rules although some local Badania podobrazi malarskich caravaggionistów... MATEUSZ JASIŃSKI, JERZY NOWOSIELSKI
{"title":"Badania podobrazi malarskich caravaggionistów na podstawie obrazów z polskich kolekcji muzealnych","authors":"M. Jasiński, J. Nowosielski","doi":"10.12775/aunc_zik.2017.009","DOIUrl":"https://doi.org/10.12775/aunc_zik.2017.009","url":null,"abstract":"Research on canvases and wooden supports used by Caravagesques based on paintings in Polish collections. The research on Caravagesques paintings’ grounds was conducted as part of an exploratory project: Technique and technology of caravaggisti paintings based on polish museum collections. The project was financed by National Science Centre (2013/09/N/ HS2/02116, PRELUDIUM V) and it is a subject of doctoral thesis carried out under prof. Jerzy Nowosielski’s guidance. The new aesthetics emerging from the style of Michealangelo Merisi, popularly known as Caravaggio, started a trend of imitating the rules of luminism, new forms and themes among artistic communities of Italy, Spain, the Netherlands, Germany and France. The artists adopted Caravaggio’s technique rules although some local Badania podobrazi malarskich caravaggionistów... MATEUSZ JASIŃSKI, JERZY NOWOSIELSKI","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42993948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.015
A. Podgórski, Sonia Stawowska, Alina Tomaszewska-Szewczyk
Tortoiseshell has always been widely used in crafts. Its preparation and handling during the artistic process is a unique procedure, characteristic only of this material. The conservation of tortoiseshell has never been approached as an individual subject, being usually grouped with other materials - similar in structure (horn) or visually (amber). The most pressing conservation problem of tortoiseshell is its proneness to deformation and destruction of the surface. The main goal of the undertaken research is to establish the best way of preservation of the surface. The studies have been conducted on fragments of tortoiseshell and aquatic turtle scutes. The following materials have been used: sweet almond oil, argan oil, castor oil, amber oil, hydrolysed keratin, urea, Olaplex, acrylic resin Paraloid B-72. In order to determine the resistance of those substances to aging process, prepared samples were exposed to rapid changes of humidity in climatic chamber. All changes on the surface were observed and recorded using organoleptic examination, optical microscope, scanning electron microscope and atomic force microscopy. The best protection coating were characterized: almond oil, argan oil and castor oil.
{"title":"Materiały do zabezpieczania i regeneracji szylkretu","authors":"A. Podgórski, Sonia Stawowska, Alina Tomaszewska-Szewczyk","doi":"10.12775/AUNC_ZIK.2017.015","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.015","url":null,"abstract":"Tortoiseshell has always been widely used in crafts. Its preparation and handling during the artistic process is a unique procedure, characteristic only of this material. The conservation of tortoiseshell has never been approached as an individual subject, being usually grouped with other materials - similar in structure (horn) or visually (amber). The most pressing conservation problem of tortoiseshell is its proneness to deformation and destruction of the surface. The main goal of the undertaken research is to establish the best way of preservation of the surface. The studies have been conducted on fragments of tortoiseshell and aquatic turtle scutes. The following materials have been used: sweet almond oil, argan oil, castor oil, amber oil, hydrolysed keratin, urea, Olaplex, acrylic resin Paraloid B-72. In order to determine the resistance of those substances to aging process, prepared samples were exposed to rapid changes of humidity in climatic chamber. All changes on the surface were observed and recorded using organoleptic examination, optical microscope, scanning electron microscope and atomic force microscopy. The best protection coating were characterized: almond oil, argan oil and castor oil.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43988160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.012
Anna Żychska
The article focuses on the techno-conservation issues of the facade of the residential tenement (kamienica) at ul. Dluga 1 in Gdansk. Its decorations are discussed in a broader context of the finishing works on Dluga and Dlugi Targ streets carried out during the post-war reconstruction of the Gdansk Main City borough. The techniques and technologies of these decorations are examined in the frame of their historical context. The state of preservation of the tenement’s facade is presented, alongside the key damaging factors. The following part presents the initial research results from the tenement’s painting decorations: a plaster composition analysis, a binder type specification and a pigment identification.
{"title":"Dekoracja malarska na fasadzie kamienicy przy ul. Długiej 1 w Gdańsku – problematyka technologiczno-konserwatorska","authors":"Anna Żychska","doi":"10.12775/AUNC_ZIK.2017.012","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.012","url":null,"abstract":"The article focuses on the techno-conservation issues of the facade of the residential tenement (kamienica) at ul. Dluga 1 in Gdansk. Its decorations are discussed in a broader context of the finishing works on Dluga and Dlugi Targ streets carried out during the post-war reconstruction of the Gdansk Main City borough. The techniques and technologies of these decorations are examined in the frame of their historical context. The state of preservation of the tenement’s facade is presented, alongside the key damaging factors. The following part presents the initial research results from the tenement’s painting decorations: a plaster composition analysis, a binder type specification and a pigment identification.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46040343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This works presents the research on painting technology and techniques of selected panel paintings by Anton Möller (1563/5-1611) and the paintings attributed to his workshop and circle of his artistic influences such as Isaac van den Blocke (before 1589-after 1924) and Hermann Han (1580-1627/8). Gdańsk’s painting of the turn of the 16th and 17th centuries was a combination of technology and techniques derived from local traditions influenced by northern trends: German and Dutch, as well as their assimilated Italian art. The results of performed analysis revealed that the works Painting works by Anton Möller... BOŻENA SZMELTER-FAUSEK, JUSTYNA OLSZEWSKA-ŚWIETLIK * This article was based on interdisciplinary research carried out as part of research projects of Ministry of Science and Higher Education No. N 10503731/3704 (cat. no. of paintings 1–4, 17), National Science Center NN105430940 (cat. no. 1–4, 17), MNiSzW No. NN 204370340 (cat. no. 5–10, 12, 14–16, 18–23). 134 BOŻENA SZMELTER-FAUSEK, JUSTYNA OLSZEWSKA-ŚWIETLIK by Anton Möller had a great influence on the development of the painting workshop in Pomerania. The white ground and grey imprimatura and colorful ground characteristic for the Gdańsk artist were identified, among others, in the Gronau epitaph and works by Hermann Han and Isaac van den Blocke. Artists working in this area could be influenced by the painting school of Anton Möller, and they could draw technical achievements directly from the Netherlands. The dominant pigments in Möller’s painting palette are lead white, lead-tin yellow, red and yellow iron pigments of natural origin, cinnabar, minium, organic red pigment, smalt, natural azurite, iron umber, charcoal. Anton Möller and Isaac van den Blocke as the only Gdańsk artists used natural ultramarine in their paintings. Anton Möller’s work distinguishes the use of bright colors similar to Italian and Flemish paintings. The artist in some way experimented with color. He used various colors of mortar, imprimatura, and underpainting to achieve the desired effect, including a white imprimatura for illuminating the surface of the painting or a pink gound layer for painting the sky. The composition of the painting was underpainted with brown paint that gave a warm tint. When painting garments, especially red, he used strong contrasts of shimmer, where the vivid red was assembled with a plane painted red with the addition of a large amount of lead white. These treatments were supposed to give the impression of luminosity, which brings even closer the way of color compositions with Italian painting. Anton Möller applied the principles of technology and painting techniques typical of the turn of the 16th and 17th centuries in European art and belongs to a group of outstanding artists active in Gdańsk. Abstrakt Anton Möller na tle gdańskiego warsztatu malarskiego ostatniej ćwierci XVI i pierwszej połowy XVII w. Praca przedstawia badania techniki i technologii wybranych obrazów sztalugowych
马卢杰·斯扎蒂、什切戈尔尼·切尔沃内、斯托索瓦·西隆·孔特拉斯蒂·维亚特·奥西尼奥韦、格齐·伊沃·伊沃奇·泽斯塔维亚·泽斯塔维亚兹·普瓦兹兹兹奇·尼亚马洛万、伊丘·切尔维耶尼·杜达特基姆·伊洛希·比埃里·奥维耶伊。Zabiegi te miały wywo 322; aćwrażenieświetlistoś。Antona Möller stosowałzasady technologi i techniki malarskiej typelwej dla przeł。安东·默勒1563/1565年出生于柯尼斯堡，1611年死于格但斯克。他是16世纪末和17世纪上半叶波美拉尼亚地区的主要艺术家之一。他主要以格但斯克的建筑为背景，描绘圣经和寓言场景。他的画主要用于在公共建筑和教堂展出。作为一名画家，他经营着一个在波美拉尼亚意义重大的绘画工作室，为格但斯克最重要的艺术中心之一的形成做出了贡献。其他对波美拉尼亚绘画工作室的艺术形成也有重大影响的艺术家有：出生于格但斯克的荷兰赫尔曼·韩（1580–1626/1627），除了格但斯克，他还在乔尼策举办了一个工作室，还有两位来自荷兰的艺术家：建筑师汉斯·弗雷德曼·德·弗里斯（1527-1604），室内装饰师和画家Isaac van den Blocke（1589年之前–1624年之后），一位来自梅赫伦的画家和佛兰德家族成员。在16世纪和17世纪之交，格但斯克的绘画融合了当地传统的技术，这些技术受到了北方绘画潮流的强烈影响：德国和荷兰，以及意大利绘画的同化成就1。1 Willi Drost，Danziger Malerei vom Mittelalter zum Ende des Barock。Ein Beitrag zur Begründung der Strukturforschung in der Kunstgeschichte（柏林，莱比锡：Verlag für Kunstwissenschaft，1938），117–121；Jacek Tylicki，“Sztuka Prus Królewskich.Malarstwo i rysunek”，普鲁西·克鲁尔斯基。Społeczeństwo，kultura，gospodarka 1454–1772，Edmund Kizik编辑（格但斯克：Muzeum Narodowe w Gdańsku，2012），309–370，图1–35。136 BOŻENA SZMELTER-FAUSEK，JUSTYNA OLSZEWSKA-ÉWIETLIK选择了23幅画作来确定格但斯克绘画工作室的基本特征：Anton Möller的五幅画作（编号：5、10、12、14、15），两幅画作属于他的艺术影响圈（编号：11、17），一幅画作由Isaac van den Blocke（编号：13），七幅画作由Hermann Han（编号：16、18-23），韩工作室的四幅寓言场景画（目录编号6-9）和格但斯克圣玛丽教堂墓志铭的四幅（目录编号1-4）。作品的选择取决于代表作品的选择，也取决于作品的可用性和个别机构的同意。选择了最重要的作品，以便对绘画技术和技巧进行全面而精确的描述。工作清单和检查结果见表1。和2。表中的工作顺序是按照完工日期完成的。表1。包含所用材料的类型以及与支撑类型、底层、图纸、隔离层、批准层和底涂层等问题有关的技术。表2。包含所分析涂料中颜料和镀金的检查结果2。2运用传统和现代的非侵入性和微侵入性方法，物理、化学和仪器分析，对格但斯克绘画的技术和技法进行了研究。大多数初步测试，包括在可见光、红外光谱和紫外光谱下的保存状态取样和分析，都是由文章作者进行的，专门的测试：彩色红外（伪彩色红外技术）、XRF X射线荧光光谱–dr hab。Jarosław Rogóż，NCU教授，Adam Cupa，托伦尼古拉斯·哥白尼大学绘画技术与工艺系；便携式XRF研究——位于格但斯克的波兰科学院流体流动机械研究所Mirosław Sawczak博士；SEM-EDS分析–教授，博士hab。工程师Maciej Pawlikowski，克拉科夫科技大学矿物学、岩石学和地球化学系；M
{"title":"Painting works by Anton Möller on the background of Gdańsk’s painting workshop of the last quarter of the 16th and the first half of the 17th century","authors":"Bożena Szmelter-Faustek, Justyna Olszewska-Świetlik","doi":"10.12775/AUNC_ZIK.2017.007","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.007","url":null,"abstract":"This works presents the research on painting technology and techniques of selected panel paintings by Anton Möller (1563/5-1611) and the paintings attributed to his workshop and circle of his artistic influences such as Isaac van den Blocke (before 1589-after 1924) and Hermann Han (1580-1627/8). Gdańsk’s painting of the turn of the 16th and 17th centuries was a combination of technology and techniques derived from local traditions influenced by northern trends: German and Dutch, as well as their assimilated Italian art. The results of performed analysis revealed that the works Painting works by Anton Möller... BOŻENA SZMELTER-FAUSEK, JUSTYNA OLSZEWSKA-ŚWIETLIK * This article was based on interdisciplinary research carried out as part of research projects of Ministry of Science and Higher Education No. N 10503731/3704 (cat. no. of paintings 1–4, 17), National Science Center NN105430940 (cat. no. 1–4, 17), MNiSzW No. NN 204370340 (cat. no. 5–10, 12, 14–16, 18–23). 134 BOŻENA SZMELTER-FAUSEK, JUSTYNA OLSZEWSKA-ŚWIETLIK by Anton Möller had a great influence on the development of the painting workshop in Pomerania. The white ground and grey imprimatura and colorful ground characteristic for the Gdańsk artist were identified, among others, in the Gronau epitaph and works by Hermann Han and Isaac van den Blocke. Artists working in this area could be influenced by the painting school of Anton Möller, and they could draw technical achievements directly from the Netherlands. The dominant pigments in Möller’s painting palette are lead white, lead-tin yellow, red and yellow iron pigments of natural origin, cinnabar, minium, organic red pigment, smalt, natural azurite, iron umber, charcoal. Anton Möller and Isaac van den Blocke as the only Gdańsk artists used natural ultramarine in their paintings. Anton Möller’s work distinguishes the use of bright colors similar to Italian and Flemish paintings. The artist in some way experimented with color. He used various colors of mortar, imprimatura, and underpainting to achieve the desired effect, including a white imprimatura for illuminating the surface of the painting or a pink gound layer for painting the sky. The composition of the painting was underpainted with brown paint that gave a warm tint. When painting garments, especially red, he used strong contrasts of shimmer, where the vivid red was assembled with a plane painted red with the addition of a large amount of lead white. These treatments were supposed to give the impression of luminosity, which brings even closer the way of color compositions with Italian painting. Anton Möller applied the principles of technology and painting techniques typical of the turn of the 16th and 17th centuries in European art and belongs to a group of outstanding artists active in Gdańsk. Abstrakt Anton Möller na tle gdańskiego warsztatu malarskiego ostatniej ćwierci XVI i pierwszej połowy XVII w. Praca przedstawia badania techniki i technologii wybranych obrazów sztalugowych ","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48546956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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