DOI Heft:
Prace konserwatorskie / Conservation works
DOI Artikel:Zygier, Elżbieta; Klisińska-Kopacz, Anna: Warsztat malarski artystów z kręgu polskiej kolonii artystycznej w Monachium na tle twórczości Maksymiliana Gierymskiego
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.45743#0201
Warsztat malarski artystów z kręgu polskiej kolonii artystycznej w Monachium...
199
Sygietyński A., Maksymilian Gierymski, Lwów 1906.
Zygier E„ Klisińska-Kopacz A., Problematyka technologiczna i konserwatorska dzieł Maksymiliana
Gierymskiego na przykładzie obrazu „Na pastwisku”, „Rozprawy Muzeum Narodowego w Krakowie. Seria
Nowa” 2016, t. 9, s. 135-160.
Zygier E., Klisińska-Kopacz A., Frączek P., Analiza technologii malarskiej Maksymiliana Gierymskiego
z wykorzystaniem nieinwazyjnych technik badawczych na przykładzie obrazu „Jabłoń nad potokiem”, „Opu-
scula Musealia”, 2015, vol. 23, s. 45-60.
Zygier E., Klisińska-Kopacz A., Frączek P., Technika i technologia malarska Maksymiliana Gierymskiego
[w:] Maksymilian Gierymski. Dzieła - inspiracje - recepcja. Katalog wystawy, Muzeum Narodowe w Kra-
kowie, kwiecień-sierpień 2014, oprać. A. Krypczyk et al., Kraków 2014, s. 257-301.
Summary
The Painting Techniques of Painters Representing the Polish
Artists'Colony in Munich Compared with the Artworks
of Maksymilian Gierymski
Maksymilian Gierymski (1846-1874) as a representative of mature realism played
a breakthrough role in nineteenth-century Polish painting. The painter was associ-
ated with the Polish artistic community in Munich. His art was a source of inspira-
tion for many other artists from this community and influenced their painting. To
compare the painting technique of Maksymilian Gierymski to that of other Polish
painters, the members of the Munich artists’ community selected 10 representative oil
paintings by Józef Brandt, Adam Chmielowski, Władysław Małecki, Jan Chełmiński,
Józef Chełmoński, Tadeusz Ajdukiewicz, Alfred Wierusz-Kowalski, Jan Rosen, Zyg-
munt Sidorowicz and Ludomir Benedyktynowicz. These selected works included oil
paintings of landscapes and landscape genres. The research was based solely on non-
invasive and non-destructive methods. The results of XRF analysis were the basis for
determining the palette. The research indicated that Polish painters of the Munich
artists’ community used a similar, narrow palette. They obtained a distinctive colour
limited to brown or grey tones, enriched with accents of a small number of other
colours. As a result, the paintings by Polish painters working in Munich show certain
consistent workshop characteristics. One of them is the colour of paintings, based on
the dominance of one tone, usually brownish or slightly grey. The research indicated
that the colour of the painting was influenced by imprimature. The final effect of the
painting was based on the creativity of the artist - painting vision was subordinated
to technical aspects of the work.
Słowa kluczowe: polska kolonia artystyczna w Monachium, malarstwo stimmungowe, technika
malarska, Maksymilian Gierymski
Key words: Munich artists'community, Stimmung painting, painting technique, Maksymilian Gierymski
199
Sygietyński A., Maksymilian Gierymski, Lwów 1906.
Zygier E„ Klisińska-Kopacz A., Problematyka technologiczna i konserwatorska dzieł Maksymiliana
Gierymskiego na przykładzie obrazu „Na pastwisku”, „Rozprawy Muzeum Narodowego w Krakowie. Seria
Nowa” 2016, t. 9, s. 135-160.
Zygier E., Klisińska-Kopacz A., Frączek P., Analiza technologii malarskiej Maksymiliana Gierymskiego
z wykorzystaniem nieinwazyjnych technik badawczych na przykładzie obrazu „Jabłoń nad potokiem”, „Opu-
scula Musealia”, 2015, vol. 23, s. 45-60.
Zygier E., Klisińska-Kopacz A., Frączek P., Technika i technologia malarska Maksymiliana Gierymskiego
[w:] Maksymilian Gierymski. Dzieła - inspiracje - recepcja. Katalog wystawy, Muzeum Narodowe w Kra-
kowie, kwiecień-sierpień 2014, oprać. A. Krypczyk et al., Kraków 2014, s. 257-301.
Summary
The Painting Techniques of Painters Representing the Polish
Artists'Colony in Munich Compared with the Artworks
of Maksymilian Gierymski
Maksymilian Gierymski (1846-1874) as a representative of mature realism played
a breakthrough role in nineteenth-century Polish painting. The painter was associ-
ated with the Polish artistic community in Munich. His art was a source of inspira-
tion for many other artists from this community and influenced their painting. To
compare the painting technique of Maksymilian Gierymski to that of other Polish
painters, the members of the Munich artists’ community selected 10 representative oil
paintings by Józef Brandt, Adam Chmielowski, Władysław Małecki, Jan Chełmiński,
Józef Chełmoński, Tadeusz Ajdukiewicz, Alfred Wierusz-Kowalski, Jan Rosen, Zyg-
munt Sidorowicz and Ludomir Benedyktynowicz. These selected works included oil
paintings of landscapes and landscape genres. The research was based solely on non-
invasive and non-destructive methods. The results of XRF analysis were the basis for
determining the palette. The research indicated that Polish painters of the Munich
artists’ community used a similar, narrow palette. They obtained a distinctive colour
limited to brown or grey tones, enriched with accents of a small number of other
colours. As a result, the paintings by Polish painters working in Munich show certain
consistent workshop characteristics. One of them is the colour of paintings, based on
the dominance of one tone, usually brownish or slightly grey. The research indicated
that the colour of the painting was influenced by imprimature. The final effect of the
painting was based on the creativity of the artist - painting vision was subordinated
to technical aspects of the work.
Słowa kluczowe: polska kolonia artystyczna w Monachium, malarstwo stimmungowe, technika
malarska, Maksymilian Gierymski
Key words: Munich artists'community, Stimmung painting, painting technique, Maksymilian Gierymski