DOI Heft:
Editor's Note
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21225#0014
12
Editors Notę
cal acclaim and popularity among the public, as well as morę recent works - paintings and
installations.
Thorough research on art is not possible without the cooperation of an art historian with a con-
servator. The representatives of these academic disciplines pose ąuestions to one another, the con-
sideration of which leads to a fuller understanding of the work of art and conseąuently helps to
reconstruct its original form. That is why we attach so much importance to publishing articles on
conservation works in Papers. Regina Klincewicz-Krupińska and Wojciech Marcinkowski focus
their attention on The Madonna of Rzepiennik Biskupi - a monumental wooden sculpture from
the early sixteenth century, housed in the Department of Polish Painting and Sculpture until
1764. The nearly finished conservation work on The Madonna has highlighted its remarkable
artistic ąuality, as well as many fascinating details from the fields of costume art, iconography and
wood candng techniąues. The presented article on The Madonna of Rzepiennik is a prelude to
the conservation exhibition, planned by the National Museum in Kraków for 2013.
Elżbieta Zygier discusses the conservation work on Hipolit Lipińskis famous painting Cor-
pus Christi Procession (Department of Modern Polish Painting and Sculpture), signed and
dated to 1881. The restoration process showed that the composition of the work was changed
while it was being painted - the artist lengthened it with a several-centimeter-long strip of
canvas belt. Dorota Okrągła looks at the conservation of three of Stanisław Wyspiański s works
from the years 1896-1904 - two stained-glass designs and a tracing of one of the Wawel Ren-
aissance friezes (currently exhibited in galleries in the Main Building and in the Szołayski
House). The article describes overcoming the difficulties arising from the unstable naturę of
the painting support (cardboard, tracing paper), the applied techniąues (pastels, watercolour)
and also the substantial sizes of the works. Performing conservation work does not mean the
end of the museum employees problems with “large-format” works by Wyspiański. Another
issue here is finding the best way of storing or displaying them.
In the review section, Wojciech Marcinkowski profiles the exhibition “Van Eyck to Durer:
The Influence of Early Netherlandish Painting on European Art, 1430-1530”, which was held
in Groeningemuseum in Bruges at the turn of the years 2010 and 2011. The National Museum
in Kraków loaned four exhibits for this exhibition and they were presented among the most
important examples of the exchange of ideas, artists and works of art between the old and
new cultural centres of Europę. Meanwhile, the review by Katarzyna Płonka-Bałus looks to
the exhibition “Miniatures flamandes 1404-1482” (Bibliotheąue National de France / Bib-
liotheąue Royale de Belgiąue, February - June 2012), a very attractive yisually and substan-
tively important presentation of the Dutch book painting of the fifteenth century, reflecting
the new methodology in the field.
As in the previous editions, the fifth volume of the new series of Papers ofthe National Mu-
seum in Kraków concludes with an In Memoriam section, which includes Diana Błońskas art-
icle on Professor Feliks Kopera (1871-1952). The sbdieth anniversary of Prof. Koperas passing,
which falls this year, provides a good opportunity to recall the accomplishments of this second
director of the National Museum in Kraków, who not only guided it safely through the period
of the two world wars, but also managed it in an absolutely modern way. His effective ability to
combine research and teaching work with - as we say today - the managerial actiyity, should
offer yaluable guidance for ourselves and for futurę generations who will be responsible for
the National Museum in Kraków. [DP]
Editors Notę
cal acclaim and popularity among the public, as well as morę recent works - paintings and
installations.
Thorough research on art is not possible without the cooperation of an art historian with a con-
servator. The representatives of these academic disciplines pose ąuestions to one another, the con-
sideration of which leads to a fuller understanding of the work of art and conseąuently helps to
reconstruct its original form. That is why we attach so much importance to publishing articles on
conservation works in Papers. Regina Klincewicz-Krupińska and Wojciech Marcinkowski focus
their attention on The Madonna of Rzepiennik Biskupi - a monumental wooden sculpture from
the early sixteenth century, housed in the Department of Polish Painting and Sculpture until
1764. The nearly finished conservation work on The Madonna has highlighted its remarkable
artistic ąuality, as well as many fascinating details from the fields of costume art, iconography and
wood candng techniąues. The presented article on The Madonna of Rzepiennik is a prelude to
the conservation exhibition, planned by the National Museum in Kraków for 2013.
Elżbieta Zygier discusses the conservation work on Hipolit Lipińskis famous painting Cor-
pus Christi Procession (Department of Modern Polish Painting and Sculpture), signed and
dated to 1881. The restoration process showed that the composition of the work was changed
while it was being painted - the artist lengthened it with a several-centimeter-long strip of
canvas belt. Dorota Okrągła looks at the conservation of three of Stanisław Wyspiański s works
from the years 1896-1904 - two stained-glass designs and a tracing of one of the Wawel Ren-
aissance friezes (currently exhibited in galleries in the Main Building and in the Szołayski
House). The article describes overcoming the difficulties arising from the unstable naturę of
the painting support (cardboard, tracing paper), the applied techniąues (pastels, watercolour)
and also the substantial sizes of the works. Performing conservation work does not mean the
end of the museum employees problems with “large-format” works by Wyspiański. Another
issue here is finding the best way of storing or displaying them.
In the review section, Wojciech Marcinkowski profiles the exhibition “Van Eyck to Durer:
The Influence of Early Netherlandish Painting on European Art, 1430-1530”, which was held
in Groeningemuseum in Bruges at the turn of the years 2010 and 2011. The National Museum
in Kraków loaned four exhibits for this exhibition and they were presented among the most
important examples of the exchange of ideas, artists and works of art between the old and
new cultural centres of Europę. Meanwhile, the review by Katarzyna Płonka-Bałus looks to
the exhibition “Miniatures flamandes 1404-1482” (Bibliotheąue National de France / Bib-
liotheąue Royale de Belgiąue, February - June 2012), a very attractive yisually and substan-
tively important presentation of the Dutch book painting of the fifteenth century, reflecting
the new methodology in the field.
As in the previous editions, the fifth volume of the new series of Papers ofthe National Mu-
seum in Kraków concludes with an In Memoriam section, which includes Diana Błońskas art-
icle on Professor Feliks Kopera (1871-1952). The sbdieth anniversary of Prof. Koperas passing,
which falls this year, provides a good opportunity to recall the accomplishments of this second
director of the National Museum in Kraków, who not only guided it safely through the period
of the two world wars, but also managed it in an absolutely modern way. His effective ability to
combine research and teaching work with - as we say today - the managerial actiyity, should
offer yaluable guidance for ourselves and for futurę generations who will be responsible for
the National Museum in Kraków. [DP]