DOI Heft:
Część III. Sztuka XIX wieku / Part III. Art of the Nineteenth Century
DOI Artikel:Frąckowiak, Ewa; Rosłoniec, Elżbieta: La Place des Martyrs et la Taverne du Bagne Félixa Buhota z 1885 roku. Z badań źródłowych i materiałowych nad matrycą celuloidową
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.45361#0450
446
Art of the Nineteenth Century
this material to make a graphic plate. It turned out to be very easy to treat and to mould. Thin
sheets could be cut with shears and thicker ones with a saw previously warmed in hot water.
The negative could be worked cold or with a heated tool. Corrections could be made with
acetone and polished with wax. But pressure from the press could lead to stress and damage
of the material. Care had to be taken while working with this flammable material.18 It was
probably for this reason that later artists used celluloid only for their own samples or experi-
ments, reserving costly copperplate to prepare compositions commissioned by publishers.
Thanks to the results of these chemical tests, we were able to determine conclusively the
composition of the material Buhot had used to make his graphic plate. We were able to verify
its earlier description as an organic base, a “colloid plate.” The establishment of the fact that the
artist worked on a celluloid plate confirmed his monographers’ earlier theories that his art was
technically innovative and that he tended to push the limits of technology.19 The exceptionally
fascinating outcome of the collaboration between art historian and chemist-conservator will
make it possible to plan further analyses of atypical graphic plates. It will allow us to advance
specialized knowledge of the use of inventions by artists who reformed the graphic arts at
the fin de siècle.
18 Encyklopedia techniki, vol.: Chemia (Warsaw: Państwowe Wydawnictwo Naukowe, 1972).
19 Jerzy Werner, Podstawy technologii malarstwa i grafiki (Łódź: Państwowe Wydawnictwo Naukowe,
1985); Andrzej Jurkiewicz, Podręcznik metod grafiki artystycznej (Warsaw: Arkady, 1975); Aleksander Kołodziejczyk,
Naturalne związki organiczne (Warsaw: Państwowe Wydawnictwo Naukowe, 2003); Jerzy Ciabach, Żywice i tworzywa
sztuczne stosowane w konserwacji zabytków (Toruń: Uniwersytet Mikołaja Kopernika, 1998).
Art of the Nineteenth Century
this material to make a graphic plate. It turned out to be very easy to treat and to mould. Thin
sheets could be cut with shears and thicker ones with a saw previously warmed in hot water.
The negative could be worked cold or with a heated tool. Corrections could be made with
acetone and polished with wax. But pressure from the press could lead to stress and damage
of the material. Care had to be taken while working with this flammable material.18 It was
probably for this reason that later artists used celluloid only for their own samples or experi-
ments, reserving costly copperplate to prepare compositions commissioned by publishers.
Thanks to the results of these chemical tests, we were able to determine conclusively the
composition of the material Buhot had used to make his graphic plate. We were able to verify
its earlier description as an organic base, a “colloid plate.” The establishment of the fact that the
artist worked on a celluloid plate confirmed his monographers’ earlier theories that his art was
technically innovative and that he tended to push the limits of technology.19 The exceptionally
fascinating outcome of the collaboration between art historian and chemist-conservator will
make it possible to plan further analyses of atypical graphic plates. It will allow us to advance
specialized knowledge of the use of inventions by artists who reformed the graphic arts at
the fin de siècle.
18 Encyklopedia techniki, vol.: Chemia (Warsaw: Państwowe Wydawnictwo Naukowe, 1972).
19 Jerzy Werner, Podstawy technologii malarstwa i grafiki (Łódź: Państwowe Wydawnictwo Naukowe,
1985); Andrzej Jurkiewicz, Podręcznik metod grafiki artystycznej (Warsaw: Arkady, 1975); Aleksander Kołodziejczyk,
Naturalne związki organiczne (Warsaw: Państwowe Wydawnictwo Naukowe, 2003); Jerzy Ciabach, Żywice i tworzywa
sztuczne stosowane w konserwacji zabytków (Toruń: Uniwersytet Mikołaja Kopernika, 1998).