Pola
Grycewicz

Faculty of Conservation and Reastauration of Works of Art

full-cycle studies, 6th year

Madonna with the sleeping Baby Jesus from the collection of the National Museum in Gdańsk, second half of the 18th century/first half of the 19th century, unknown author

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Details of the project

Title of work
Madonna with the sleeping Baby Jesus from the collection of the National Museum in Gdańsk, second half of the 18th century/first half of the 19th century, unknown author
Studio
2nd Studio of Conservation and Restoration of Painting on Moving Surfaces
Head of the studio
prof. J. Czernichowska
Technique
Dimensions
110 x 93,5 cm
Description
Conservation of the painting of Madonna with the sleeping Baby Jesus (copy of Guido Reni’s work) is carried out as part of the degree piece by Pola Grycewicz. The main conservation issue was the total lack of adhesiveness of the mortar layer to the ground, which resulted in flaking of the painting. At the moment of work commencement, the painting was secured with facing – a layer of thin blotting paper was glued onto the paint layer, which helped to reduce the losses of the original temporarily until restoration of its proper adhesion. It was a very complicated and time-consuming process; although the effect may not seem very spectacular, it is of tremendous importance for the durability of the work.

Madonna with the sleeping Baby Jesus from the collection of the National Museum in Gdańsk, second half of the 18th century/first half of the 19th century, unknown author

See the work

Details of the project

Title of work
Madonna with the sleeping Baby Jesus from the collection of the National Museum in Gdańsk, second half of the 18th century/first half of the 19th century, unknown author
Studio
2nd Studio of Conservation and Restoration of Painting on Moving Surfaces
Head of the studio
prof. J. Czernichowska
Technique
Dimensions
110 x 93,5 cm
Description
Conservation of the painting of Madonna with the sleeping Baby Jesus (copy of Guido Reni’s work) is carried out as part of the degree piece by Pola Grycewicz. The main conservation issue was the total lack of adhesiveness of the mortar layer to the ground, which resulted in flaking of the painting. At the moment of work commencement, the painting was secured with facing – a layer of thin blotting paper was glued onto the paint layer, which helped to reduce the losses of the original temporarily until restoration of its proper adhesion. It was a very complicated and time-consuming process; although the effect may not seem very spectacular, it is of tremendous importance for the durability of the work.
Julia
Gluźniewicz Maria
Haile