{"id":24205,"date":"2026-04-16T12:35:25","date_gmt":"2026-04-16T10:35:25","guid":{"rendered":"https:\/\/new.mnk.pl\/activity\/conservation\/pracownia-konserwacji-malarstwa-i-rzezby-w-sukiennicach\/"},"modified":"2026-09-12T19:30:17","modified_gmt":"2026-09-12T17:30:17","slug":"the-painting-and-sculpture-conservation-studio-at-the-sukiennice","status":"publish","type":"page","link":"https:\/\/mnk.pl\/en\/activity\/conservation\/the-painting-and-sculpture-conservation-studio-at-the-sukiennice\/","title":{"rendered":"The Painting and Sculpture Conservation Studio at the Sukiennice"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" src=\"https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/fot_tomasz_markowski_116-1-1-1024x478.jpg\" alt=\"Osoba z kr\u00f3tkimi blond w\u0142osami w przezroczystej przy\u0142bicy i niebieskich r\u0119kawiczkach, widziana z profilu, pochylona nad pionow\u0105 powierzchni\u0105 i u\u017cywaj\u0105ca p\u0119sety, w ciemnym ubraniu, z rozmytymi metalowymi podp\u00f3rkami na pierwszym planie.\" class=\"wp-image-33748\"\/><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Workshop team<\/strong>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dr Dominika Sarkowicz \u2013 senior conservator; workshop manager; dsarkowicz@mnk.pl<\/li>\n\n\n\n<li>Marzena Sieklucka \u2013 senior conservator; msieklucka@mnk.pl<\/li>\n\n\n\n<li>Gabriela Banach-Kielanowska \u2013 senior conservator; gkielanowska@mnk.pl<\/li>\n\n\n\n<li>Joanna Zwinczak \u2013 assistant lecturer in conservation; jzwinczak@mnk.pl<\/li>\n<\/ul>\n\n\n    <div class=\"wp-block-mnk-contact-info-block contact-info-block\">\n      <h2>Gallery of 19th-Century Polish Art in the MNK Sukiennice<\/h2>\n      <div class=\"block-inner\">\n        <div class=\"contact-info-top\">\n          <div class=\"contact-info-row d-flex\">\n                          <div class=\"customer-s-content\">\n                <svg class=\"icon\" aria-hidden=\"true\" focusable=\"false\"><use xlink:href=\"#phone-icon\"><\/use><\/svg>\n                <div class=\"content d-flex flex-column\">\n                  <p>+48 12 433 54 40, +48 12 433 54 11<\/p>\n                                      <div class=\"other-content d-flex flex-column\">\n                      <span>3 Main Market Square, 31-005<\/span>\n                    <\/div>\n                                  <\/div>\n              <\/div>\n            \n                      <\/div>\n        <\/div>\n\n        <div class=\"contact-info-bottom d-flex\">\n          \n                  <\/div>\n      <\/div>\n    <\/div>\n    \n\n\n<p class=\"wp-block-paragraph\">The Painting and Sculpture Conservation Workshop at the MNK Sukiennice combines tradition with modernity. It is the oldest of the twelve workshops making up the Conservation Department of the National Museum in Krak\u00f3w \u2013 its history dates back to the early 20th century. In 2010, it was completely modernised and refitted.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Workshop\u2019s activities are focused on the protection and conservation of 19th-century paintings held in the collections of the National Museum in Krak\u00f3w. It carries out a variety of projects: full, partial and preventive conservation, often undertaken as a team, which is a key aspect of the work. As part of its preventative conservation work, the workshop looks after the museum\u2019s collection of 19th-century Polish paintings on display at the MNK Sukiennice, the MNK Matejko House and the painting exhibition at the Royal Castle in Niepo\u0142omice \u2018MNK Sukiennice in Niepo\u0142omice 2\u2019 and the collection of paintings at the MNK Matejko House, as well as the works stored in the depots. Conservators monitor the condition of objects on display in the galleries and those stored in the storerooms; they monitor storage conditions, taking into account relative humidity (RH) and temperature; and they draw up condition reports for objects on loan. During the transport of museum objects, they provide conservation care, assuming the duties of a courier. The conservation of objects is often accompanied by scientific research aimed at understanding the techniques and technologies used in the work undergoing conservation treatment. Conservation documentation is drawn up from this work and entered into the MUZA museum system. Furthermore, we carry out research projects concerning the work of nineteenth-century artists, as well as conservation techniques and methods.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Studio\u2019s team also carries out research activities related to ongoing conservation work and as part of research projects. Between 2004 and 2010, as part of the \u2018New Sukiennice\u2019 project, the Studio conserved several dozen paintings prepared for a new exhibition at the MNK Sukiennice Gallery of 19th-Century Polish Art. These included large-format canvases by MNK Matejko and Henryk Siemiradzki\u2019s <em>Nero\u2019s Torches<\/em>. The most recent large-scale undertaking was the restoration of J\u00f3zef Che\u0142mo\u0144ski\u2019s <em>The Four<\/em>, which ran from 2020 to 2024 and was accompanied by research<\/p>\n\n\n\n<div class=\"wp-block-mnk-accordion-group accordion-block\" data-show-numbers=\"false\"><div class=\"accordion\" id=\"accordion-a9eaf913\">\n<div id=\"selected-maintenance-work-carried-out-in-recent-years\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-a79f2566\" id=\"button-item-a79f2566\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-a79f2566\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">Selected maintenance work carried out in recent years<\/span><\/div><\/div><\/div><div id=\"collapse-item-a79f2566\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-a79f2566\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<p class=\"wp-block-paragraph\">2020\u20132024<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>J\u00f3zef Che\u0142mo\u0144ski<\/strong>, <strong><em>The Four<\/em><\/strong>, 1881, MNK II-a-258, oil on canvas, dimensions 286 x 680.5 cm.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The history of the painting \u2013 having been rolled up onto a tube on numerous occasions, transported many times and hidden during the wars \u2013 has had a negative impact on its state of preservation. Thanks to the relining carried out in the 1970s and the use of a self-tensioning frame with programmable operation in 2007, the painting was in good structural condition. However, distinct vertical cracks in the paint surface, superficial water stains, discoloured retouching and, above all, darkened varnishes impaired the visual perception of the work, distorting its colour scheme and flattening the pictorial perspective. Due to the large format of the painting, the restoration work was carried out from scaffolding <em>in situ <\/em>in the gallery. It primarily involved cleaning the delicate paint layer of the secondary layers that had accumulated on it. The work began with tests and the selection of methods and materials to ensure the safe removal of discoloured varnishes covering the painting and accumulated in the recesses of the impasto, as well as retouching that had changed colour to conceal damage to the original. This painstaking process, requiring the utmost care, was carried out in the most delicate areas using compresses, so as not to rub the paint layer whilst cleaning it. Following the cleaning of the picture surface, the few losses in the canvas and ground were filled in, and the painting was retouched and varnished. Thanks to the four-year restoration, it was possible to restore the aesthetic qualities of the work, as well as the composition and colour scheme of *The Four*, which had been distorted by discolouration.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Technological analyses of the painting were carried out in parallel.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Conservation team: D. Sarkowicz, M. Sieklucka, G. Banach-Kielanowska, J. Zwinczak, J. K\u0119dziora, E. Gracheff.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">* D. Sarkowicz, M. Sieklucka, G. Banach-Kielanowska, J. Zwinczak, J. K\u0119dziora, A. Klisi\u0144ska-Kopacz, A. Kopyciak, P. Krupska-Wolas, K. Sk\u00f3ra, A. Rygu\u0142a, M. Obarzanowski, T. Wilkosz, S. Ta\u0144cula, B. Felu\u015b, G. G\u0105secka, M. Matosz, <strong><em>Galloping Through the Centuries \u2013 Conservation and Research on J\u00f3zef Che\u0142mo\u0144ski\u2019s painting \u2018The Four\u2019, 1881<\/em><\/strong>, Acta Universitatis Nicolai Copernici: Heritage Studies and Conservation LV (2024)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">________________________________________________________<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2019\u20132021<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Conservation of a collection of paintings by MNK Matejko in connection with a monographic exhibition of the artist\u2019s work: <em>The Departure of the Students from Krak\u00f3w in 1549<\/em>; <em>Portrait of Miko\u0142aj Zyblikiewicz, Male Nude, Study of a Male Bust, Portrait of a Boy, Portrait of an Old Man, Still<\/em> <em>Life<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>MNK Matejko, <em>The Departure of the Students from Krak\u00f3w in 1549, <\/em>1893, oil on canvas, <\/strong>dimensions 97 \u00d7 194 cm, MNK IX-20<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The canvas was damaged by recurring vertical tears. The damage, resulting in part from improper storage during the war and subsequent repairs, had a very negative impact on the work\u2019s aesthetic appearance. The backing applied in 1947 failed to stabilise the support, and distinct distortions were visible on the front of the canvas. The yellowed varnish, together with soiling, altered and darkened the work\u2019s original colour scheme, whilst the retouches had become discoloured. Conservation work began in 2021. The front surface was cleaned of dirt, yellowed varnish, old altered retouching and overpainting; the old lining was removed; and repairs were carried out on the support by gluing together tears and applying prosthetic patches. The support was impregnated and a new lining was applied with a Hollytex interlayer; putty was applied to areas where the plaster had crumbled, and the painting was stretched onto a new stretcher. Losses in the paint layer were restored using an imitative technique, incorporating elements of reconstruction. The conservation work has restored the work\u2019s aesthetic qualities and halted the process of deterioration. It was possible to correct the deformations and permanently level the surface of the painting; vertical damage no longer detracts from the composition. Following conservation, the painting was exhibited at the exhibition <em>MNK Matejko. The Painter and History<\/em>, and subsequently returned to the permanent exhibition at the Jan Matejko House. Conservationists: D. Sarkowicz, M. Sieklucka.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*D. Sarkowicz, M. Sieklucka, <em>Restoring Lost Qualities \u2013 Jan Matejko\u2019s Paintings at the Painting and Sculpture Conservation Workshop at the MNK Sukiennice<\/em> [in:] <em>MNK Matejko. The Painter and History, exhibition catalogue<\/em>, Krak\u00f3w 2023<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">_______________________________________________________________________<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2018 \/ 2019<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">AN, <strong><em>The Battle of Kalisz in 1706<\/em><\/strong>, oil on canvas, dimensions 258 x 258 cm, MNK XII-438<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The painting was one of three conserved at the MNK Sukiennice in preparation for display at the MNK Czartoryski Museum of the 20th Century as part of the \u2018Past of the Future\u2019 project. The work involved reattaching flaking sections of the paint layers and aesthetic conservation of the painting\u2019s surface.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The painting was soiled, covered with yellowed varnishes, and featured numerous losses and restorations in the paint layer, as well as overpainting. The surface was cleaned, and the old varnishes, colour-altered retouches and overpainting were removed. Losses in the ground and paint layers were filled, and fragments of the composition were reconstructed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For the first time in the workshop\u2019s history, new, optically stable synthetic resins and Gamblin paints based on these binders (Laropal A81, Regalrez 1094) were introduced for retouching and varnishing. The conservation work was combined with research into the painting\u2019s technical execution. The work was carried out in an open studio, in the temporary exhibition hall at the MNK Sukiennice, which is accessible to the public, allowing visitors to observe the conservation process.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By J. Zwinczak, D. Sarkowicz, G. Banach-Kielanowska, M. Sieklucka, E. Zygier.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2017\/2020<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Maksymilian Gierymski<\/strong>, <strong><em>Winter in a Small Town<\/em><\/strong>, 1872, MNK ND 12339, oil on canvas, dimensions 76 x 128 cm<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The work, previously considered a war loss, was rediscovered in 2017 and transferred to the MNK in a very poor state of preservation, rolled up and with numerous losses. The conservation of the work was comprehensive, involving a range of technical and aesthetic interventions. Owing to the archival value of the manufacturer\u2019s stamp imprinted on the reverse of the support, a transparent silk lining was applied, combined with edge strips of linen canvas. Numerous losses in the paint layer were filled using Gamblin paints based on Laropal A81 resin binder. The painting was coated with a final varnish based on Regalrez 1094 resin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By halting the process of the work\u2019s progressive deterioration, its original artistic and exhibition qualities have been restored. The painting was also subjected to technical analyses as part of a project concerning the workshop of Maksymilian Gierymski.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By: M. Sieklucka, E. Zygier<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2017<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Micha\u0142 Stachowicz, <em>Ko\u015bciuszko\u2019s Oath<\/em><\/strong>, MNK-IIa-580, tempera on canvas, dimensions: 164 x 301 cm.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The painting is one of four parts of the decoration for Tadeusz Ko\u015bciuszko\u2019s catafalque, displayed in Wawel Cathedral in 1818, created by Micha\u0142 Stachowicz. Owing to the relatively fragile medium (tempera on canvas) and the work\u2019s history, the painting was in poor condition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It had numerous losses; in many places, the paint layer, together with the ground, had detached from the support, and the surface was soiled, amongst other things, by extensive water stains. Comprehensive technical and aesthetic conservation of the painting was carried out, including impregnation and relining onto a new canvas, as well as the reconstruction of missing sections of the paint layer. Following conservation, the painting is currently on display at the Presidential Palace in Warsaw, adorning the interior of the staircase. Conservators: G. Banach-Kielanowska, D. Sarkowicz, M. Sieklucka, E. Zygier, M. Tarnowska-Reszczy\u0144ska, J. Zwinczak<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*G. Banach-Kielanowska, D. Sarkowicz, M. Sieklucka, E. Zygier, \u201c\u2019The Oath of Tadeusz Ko\u015bciuszko\u2019 \u2013 a painting by Micha\u0142 Stachowicz from the decoration of the catafalque of the leader of the uprising \u2013 history and conservation of the work\u201d, <em>Proceedings of the National Museum in Krak\u00f3w<\/em>, XI (2018), pp. 51\u201369.<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div id=\"research-projects\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-1cb765e0\" id=\"button-item-1cb765e0\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-1cb765e0\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">Research projects<\/span><\/div><\/div><\/div><div id=\"collapse-item-1cb765e0\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-1cb765e0\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<div data-wp-context=\"{ &quot;autoclose&quot;: false, &quot;accordionItems&quot;: [] }\" data-wp-interactive=\"core\/accordion\" role=\"group\" class=\"wp-block-accordion is-layout-flow wp-block-accordion-is-layout-flow\">\n<div data-wp-class--is-open=\"state.isOpen\" data-wp-context=\"{ &quot;id&quot;: &quot;accordion-item-1&quot;, &quot;openByDefault&quot;: false }\" data-wp-init=\"callbacks.initAccordionItems\" data-wp-on-window--hashchange=\"callbacks.hashChange\" class=\"wp-block-accordion-item is-layout-flow wp-block-accordion-item-is-layout-flow\">\n<h3 class=\"wp-block-accordion-heading\"><button aria-expanded=\"false\" aria-controls=\"accordion-item-1-panel\" data-wp-bind--aria-expanded=\"state.isOpen\" data-wp-on--click=\"actions.toggle\" data-wp-on--keydown=\"actions.handleKeyDown\" id=\"accordion-item-1\" type=\"button\" class=\"wp-block-accordion-heading__toggle\"><span class=\"wp-block-accordion-heading__toggle-title\"><strong>Retouching of the paint layer. A study of the physical and chemical changes in materials used in the conservation workshops of the National Museum in Krak\u00f3w<\/strong> (2027\u20132023)<\/span><span class=\"wp-block-accordion-heading__toggle-icon\" aria-hidden=\"true\">+<\/span><\/button><\/h3>\n\n\n\n<div inert aria-labelledby=\"accordion-item-1\" data-wp-bind--inert=\"!state.isOpen\" id=\"accordion-item-1-panel\" role=\"region\" class=\"wp-block-accordion-panel is-layout-flow wp-block-accordion-panel-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Project carried out by: Joanna Zwinczak in collaboration with Dr Marek Bucki and Prof. Krzysztof Krucza\u0142a, PhD.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The aim of the project was to identify the causes and mechanisms of ageing in retouching and to propose a suitable technique and set of materials for filling gaps in paint layers. Six of the most commonly used retouching paints in the studio \u2013 both commercial and modified \u2013 containing ultramarine and cadmium yellow were subjected to artificial ageing at elevated temperature and under artificial light, as well as, for comparison, to natural ageing for four years, away from light. The samples were then analysed using ATR FTIR spectroscopy, EPR spectroscopy and spectrophotometry, as well as an analysis of changes in wettability and a manual solubility test. These analyses made it possible to outline the ageing profile of the binders and to identify the materials that are both the most chemically stable and the most soluble in the future.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Publications:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M. Bucki, J. Zwinczak, K. Krucza\u0142a, <em>Research into physicochemical changes in the retouching paints used at the National Museum in Krakow<\/em> [in:] <a href=\"https:\/\/www.nature.com\/npjheritagesci\" rel=\"nofollow noopener\" target=\"_blank\">npj Heritage Science<\/a>, vol. 13, article no. 370, 2025<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.nature.com\/articles\/s40494-025-01720-z\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.nature.com\/articles\/s40494-025-01720-z<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Joanna Zwinczak, Krzysztof Krucza\u0142a and Marek Bucki, <em>Retouches of the paint layer: Research into physical and chemical changes of the materials used in conservation studios at the National Museum in Krak\u00f3w<\/em> [in:] Technart23 Book of Abstracts, p. 212<a href=\"https:\/\/iris.unive.it\/retrieve\/c46d9787-d946-4877-a6a5-47f8c41fa59d\/TECHNART2023%252520book%252520of%252520abstract.pdf\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/iris.unive.it\/retrieve\/c46d9787-d946-4877-a6a5-47f8c41fa59d\/TECHNART2023%20book%20of%20abstract.pdf<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div data-wp-context=\"{ &quot;autoclose&quot;: false, &quot;accordionItems&quot;: [] }\" data-wp-interactive=\"core\/accordion\" role=\"group\" class=\"wp-block-accordion is-layout-flow wp-block-accordion-is-layout-flow\">\n<div data-wp-class--is-open=\"state.isOpen\" data-wp-context=\"{ &quot;id&quot;: &quot;accordion-item-2&quot;, &quot;openByDefault&quot;: false }\" data-wp-init=\"callbacks.initAccordionItems\" data-wp-on-window--hashchange=\"callbacks.hashChange\" class=\"wp-block-accordion-item is-layout-flow wp-block-accordion-item-is-layout-flow\">\n<h3 class=\"wp-block-accordion-heading\"><button aria-expanded=\"false\" aria-controls=\"accordion-item-2-panel\" data-wp-bind--aria-expanded=\"state.isOpen\" data-wp-on--click=\"actions.toggle\" data-wp-on--keydown=\"actions.handleKeyDown\" id=\"accordion-item-2\" type=\"button\" class=\"wp-block-accordion-heading__toggle\"><span class=\"wp-block-accordion-heading__toggle-title\"><strong>\u201cAn analysis of Henryk Siemiradzki\u2019s artistic style based on works held in the collections of the National Museum in Krak\u00f3w and other collections\u201d.<\/strong> (2012\u20132015 \/ 2025\u20132020)<\/span><span class=\"wp-block-accordion-heading__toggle-icon\" aria-hidden=\"true\">+<\/span><\/button><\/h3>\n\n\n\n<div inert aria-labelledby=\"accordion-item-2\" data-wp-bind--inert=\"!state.isOpen\" id=\"accordion-item-2-panel\" role=\"region\" class=\"wp-block-accordion-panel is-layout-flow wp-block-accordion-panel-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Between 2012 and 2015, the research was carried out as an internal project of the National Museum in Krak\u00f3w; from October 2015 to October 2020, it continued as part of the project \u2018Corpus of Henryk Siemiradzki\u2019s Paintings\u2019*, led by Prof. Jerzy Malinowski. Source of funding: Ministry of Science and Higher Education: NPRH (\u201cTradition I a\u201d, contract no. 0504\/NPRH\/H1a\/83\/2015). This project was carried out in collaboration with the Polish Institute for the Study of World Art, the National Museum in Warsaw, and the State Tretyakov Gallery in Moscow.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Research leader: Dominika Sarkowicz<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Project participants (National Museum in Warsaw): M. Sieklucka, A. Klisi\u0144ska-Kopacz, M. Matosz, M. Obarzanowski,<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">P. Fr\u0105czek, K. Budkowska<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*<em>The Corpus of Henryk Siemiradzki\u2019s Paintings<\/em>, vols. 1\u20134, edited by Jerzy Malinowski, Polish Institute for World Art Studies &amp; Tako Publishers, Warsaw \u2013 Toru\u0144 2020; ISSN 2719-7212, ISBN 978-83-66758-02-5 PISnS\u015a, ISBN 978-83-7581-371-5 MNK<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">vol. 4: <em>The Painting Technique of Henryk Siemiradzki<\/em>, D. Sarkowicz (ed.),<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The aim of the project was to analyse Henryk Siemiradzki\u2019s painting technique on the basis of detailed studies of selected oil paintings by the artist from the MNK collection and other museum and private collections in Poland and abroad. The research involved identifying the materials used by the artist, analysing his technique and identifying elements of the creative process. At the National Museum in Krak\u00f3w, 75 of the painter\u2019s oil paintings were analysed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This has resulted in numerous publications, technical notes on selected paintings and a chapter in volumes 1\u20133 of *The Corpus of Henryk Siemiradzki\u2019s Paintings* (ed. Malinowski, 2020). A summary of the research findings is presented in volume 4 of *The Corpus\u2026*, published thanks to a grant from the Ministry of Culture and National Heritage:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2018Henryk Siemiradzki\u2019s Painting Technique\u2019 (ed. Sarkowicz, 2022). Warsaw\u2013Krak\u00f3w\u2013Toru\u0144, 2022<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div>\n\n\n\n<div id=\"publications\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-8fae9439\" id=\"button-item-8fae9439\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-8fae9439\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">Publications <\/span><\/div><\/div><\/div><div id=\"collapse-item-8fae9439\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-8fae9439\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<ul class=\"wp-block-list\">\n<li>D. Sarkowicz, A. Klisi\u0144ska-Kopacz, \u2018The Secrets of Henryk Siemiradzki\u2019s \u201cSelf-Portrait\u201d \u2013 a contribution to research into the artist\u2019s technique\u2019<em>; Conservation News<\/em>, 32 (2012), pp. 39\u201349.<\/li>\n\n\n\n<li>D. Sarkowicz, A. Klisi\u0144ska-Kopacz, M. Sieklucka, \u2018Research on Henryk Siemiradzki\u2019s \u201cPortrait of a Woman on a Palette\u201d, 1884\u2019; <em>Museum Dissertations of the National Museum in Krak\u00f3w<\/em>, vol. VI, 2013, pp. 313\u2013323.<\/li>\n\n\n\n<li>Rafalska-\u0141asocha, M. Grzesiak-Nowak, D. Sarkowicz, W. \u0141asocha, \u201cThe use of XRPD for the investigation of historic pigments and painting materials in works by Henryk Siemiradzki\u201d;<em> Journal of Analytical Atomic Spectrometry<\/em> (<em>JAAS<\/em>) 30 (2015), pp. 751\u2013758.<\/li>\n\n\n\n<li>D. Sarkowicz, \u201cHenryk Siemiradzki\u2019s painting \u2018Ruins of a Roman Villa\u2019 in the light of recent research\u201d; <em>Ochrona Zabytk\u00f3w<\/em> 1 (2015), pp. 141\u2013151.<\/li>\n\n\n\n<li>D. Sarkowicz, \u201cCharacteristics of Henryk Siemiradzki\u2019s Artistic Style\u201d, <em>XIX<\/em> Scientific <a href=\"http:\/\/pl.pons.com\/t%252525C5%25252582umaczenie\/rosyjski-polski\/%252525D0%252525BA%252525D0%252525BE%252525D0%252525BD%252525D1%25252584%252525D0%252525B5%252525D1%25252580%252525D0%252525B5%252525CC%25252581%252525D0%252525BD%252525D1%25252586%252525D0%252525B8%252525D1%2525258F\" rel=\"nofollow noopener\" target=\"_blank\">Conference<\/a><strong><em>:<\/em><\/strong> Expertise and Attribution of Works of Fine, Decorative and Applied Art, Proceedings 2014, Moscow 2015, pp. 66\u201373.<\/li>\n\n\n\n<li>D. Sarkowicz, M. Sieklucka, \u201c\u2018Nero\u2019s Torches\u2019 \u2013 a new perspective on a work by Henryk Siemiradzki. The technique of an academic painter\u201d; <em>Art of Eastern Europe<\/em>, IV, Warsaw \u2013 Toru\u0144 2016, pp. 95\u2013104.<\/li>\n\n\n\n<li>D. Sarkowicz, M. Sieklucka, A. Klisi\u0144ska-Kopacz, P. Fr\u0105czek, M. Obarzanowski, \u201cThe application of modern analytical techniques for the investigation of the large-scale painting *Nero\u2019s Torches* by Henryk Siemiradzki\u201d; <em>Opuscula Musealia,<\/em> 23 (2015), pp. 83\u201399.<\/li>\n\n\n\n<li>D. Sarkowicz, A. Klisi\u0144ska-Kopacz, \u201cInvestigation of the painting *Idyll* attributed to Henryk Siemiradzki: The unusual technique of a canvas painting executed on an enlarged photograph\u201d; <em>Studies in Conservation<\/em>, 2017; available online: <em>&lt;<\/em><a href=\"http:\/\/dx.doi.org\/10.1080\/00393630.2017.1364876\" rel=\"nofollow noopener\" target=\"_blank\">http:\/\/dx.doi.org\/10.1080\/00393630.2017.1364876<\/a>>;<\/li>\n\n\n\n<li>D. Sarkowicz<em>, <\/em>\u201cPortraits of parents or parents-in-law? Remarks on two portraits by Henryk Siemiradzki from the collection of the National Museum in Krak\u00f3w\u201d, <em>Art of Eastern Europe<\/em>, vol. V (2017), pp. 151\u2013160.<\/li>\n\n\n\n<li>D. Sarkowicz, M. Sieklucka, A. Klisi\u0144ska-Kopacz, \u201cThe palette and characteristic features of Henryk Siemiradzki\u2019s use of pigments in the context of the examination of two paintings of uncertain attribution\u201d, <em>World Art Studies<\/em>, <em>The Henryk Siemiradzki that we do not know<\/em>, vol. XVIII (2018), 157\u2013167.<\/li>\n\n\n\n<li>M. Sieklucka, R. Janke, D. Sarkowicz, \u201cAn unknown collection of photographs from the Siemiradzki family albums\u201d,<em> World Art Studies<\/em>, <em>The Henryk Siemiradzki we do not know<\/em>, vol. XVIII (2018), 117\u2013127.<\/li>\n\n\n\n<li>D. Sarkowicz, M. Obarzanowski, \u201cTechnical Analysis and Attribution of an Unknown Nineteenth-Century Painting by Henryk Siemiradzki, <em>The Feast of Dionysius I<\/em>, Revealing a Hidden Composition\u201d, Studies in Conservation, 2021; available online: &lt;https:\/\/doi.org\/10.1080\/00393630.2021.1898884><\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">__________________________________________________________________________<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>The work of Maksymilian Gierymski and the art of Polish artists in Munich between 1867 and 1900 \u2013 an interdisciplinary study.<\/strong> A project carried out at the National Museum in Krak\u00f3w between 2013 and 2018, funded by the National Science Centre under decision number DEC-2012\/05\/B\/HS2\/03970.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Project team: Dr A. Krypczyk de Barra \u2013 project leader, E. Zygier, Dr A. Klisi\u0144ska-Kopacz, P. Fr\u0105czek.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*\u2018Maksymilian Gierymski. Catalogue of Collected Works\u2019, A. Krypczyk-De Barra (ed.), Krak\u00f3w 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Publications:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>E. Zygier, A. Klisi\u0144ska-Kopacz, P. Fr\u0105czek, \u2018Maksymilian Gierymski\u2019s Technique and Technology\u2019, [in:] <em>Maksymilian Gierymski. Works \u2013 Inspirations \u2013 Reception<\/em>, A. Krypczyk (ed.), Krak\u00f3w 2014, pp. 257\u2013301.<\/li>\n\n\n\n<li>E. Zygier, A. Klisi\u0144ska-Kopacz, P. Fr\u0105czek, \u2018Analysis of Maksymilian Gierymski\u2019s painting technique using non-invasive research methods, based on the example of the painting \u201cApple Tree by the Stream\u201d\u2019, <em>Opuscula Musealia<\/em>, 23 (2015), pp. 45\u201360<\/li>\n\n\n\n<li>E. Zygier, A. Klisi\u0144ska-Kopacz, \u2018Technological and conservation issues in the works of Maksymilian Gierymski, as illustrated by the painting \u201cIn the Pasture\u201d\u2019, <em>, <\/em>Proceedings of the National Museum in Krak\u00f3w, vol. IX, 2016, pp. 136\u2013160<\/li>\n\n\n\n<li>E. Zygier, A. Klisi\u0144ska-Kopacz<strong>,<\/strong> \u2018The painting techniques of artists from the circle of the Polish artistic colony in Munich, as seen through the works of Maksymilian Gierymski<em>\u2019, Proceedings of the National Museum in Krak\u00f3w<\/em>, vol. X (2017), pp. 179\u2013205<\/li>\n\n\n\n<li>A. Krypczyk-De Barra, E. Zygier, A. Klisi\u0144ska-Kopacz, P. Fr\u0105czek, \u2018On the Trail of Gierymski\u2019 [in:] \u201cOn 19th-Century Munich Painting: Munich\/Vienna, Paris<em>\u201d, <\/em>E. Ptaszy\u0144ska (ed.), Suwa\u0142ki 2020, pp. 167\u2013176,<\/li>\n\n\n\n<li>E. Zygier, A. Klisi\u0144ska-Kopacz, \u2018The Painting Technique of Maksymilian Gierymski\u2019s Hunting-Themed Paintings\u2019 [in:] <em>On Issues of the Artist\u2019s Craft: Painter, Sculptor, Architect&#8230;,<\/em><\/li>\n\n\n\n<li>vol. II, Nicolaus Copernicus University, Toru\u0144, (in press).<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">_____________________________________________________________________<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Conservation studies of paintings by Rafa\u0142 Hadziewicz from the collections of the National Museum in Krak\u00f3w and the National Museum in Kielce. <\/strong>An internal project of the National Museum in Krak\u00f3w carried out in 2009 and 2014\u20132016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Publications:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>J. Czop, E. Dole\u017cy\u0144ska-Sewerniak, A. Klisi\u0144ska-Kopacz, M. Misztal, E. Zygier, \u2018Rafa\u0142 Hadziewicz\u2019s painting technique and technology based on works from the collections of the National Museum in Kielce and Krak\u00f3w\u2019, [in:] <em>The Creative Life of Rafa\u0142 Hadziewicz<\/em>. Exhibition catalogue,<\/li>\n\n\n\n<li>ed. J. Kaczmarczyk, Kielce, 2016, pp. 459\u2013497.<\/li>\n\n\n\n<li>E. Zygier, E. Dole\u017cy\u0144ska-Sewerniak, M. Misztal, A. Klisi\u0144ska-Kopacz, \u2018The portrait work of Rafa\u0142 Hadziewicz (1803\u20131886) in the light of interdisciplinary research\u2019, [in:] <em>On the Artistic Practice of the Artist: Painter, Sculptor, Architect<\/em>\u2026, E. Dole\u017cy\u0144ska-Sewerniak,<\/li>\n\n\n\n<li>R. M\u0105czy\u0144ski (eds.), vol. I, Nicolaus Copernicus University, Toru\u0144 2020, ISBN 978-83-231-4423-443-6; pp. 181\u2013208.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Compilation of a catalogue of original works (paintings, watercolours, gouaches and drawings) by Micha\u0142 Elwir Andriolli held in Polish and foreign collections. Duration: 2015 to 2026<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Project coordinator: Gabriela Banach-Kielanowska.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To date, Andriolli (1836\u20131893) is known chiefly as the finest illustrator of Adam Mickiewicz\u2019s *Pan Tadeusz*. In total, he produced illustrations for sixty-five Polish and foreign literary works, as well as for magazines such as *K\u0142osy*, *Tygodnik Ilustracyjny* and *Wieniec*. His drawings and gouaches were carved onto boxwood blocks by outstanding wood engravers (a compiled list of over 50) and reproduced in thousands of copies. Andriolli often painted his gouaches directly onto the boxwood block, which was then lost beneath the skilful chisel of the wood engraver.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Two fires in his studio, situated in a wooden house \u2013 a villa on the \u015awider River near Warsaw \u2013 irretrievably destroyed the archive of his collected works. Nevertheless, many surviving works have been found in museum collections, as well as in churches in Poland and Kaunas.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The most significant discovery during the search was contact with the Viktor and Apolinary Wasniecow Museum in Kirov (formerly Vyatka, where Andriolli spent eight years in exile). The museum houses numerous works by him, including landscapes, portraits and religious paintings in oil. Furthermore, between 1869 and 1871, Andriolli created iconostases for two Orthodox churches. Between 1883 and 1886, Andriolli stayed in Paris at the invitation of the publishing firm Firmin-Didot, which entrusted him with work following the death of their eminent illustrator, Gustave Dor\u00e9. We know that he illustrated several books and worked for two magazines, *Illustra*tion\u201d i \u201eLe Figaro\u201d, wykona\u0142 ponad 600 ilustracji. Przeprowadzono prywatnie poszukiwania w Pary\u017cu, ale nie natrafiono na \u017cadne prace przygotowawcze w postaci nawet rysunk\u00f3w.<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div id=\"exhibitions-related-to-the-workshops-activities\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-255cff4e\" id=\"button-item-255cff4e\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-255cff4e\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">Exhibitions related to the workshop&#8217;s activities<\/span><\/div><\/div><\/div><div id=\"collapse-item-255cff4e\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-255cff4e\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<p class=\"wp-block-paragraph\"><strong><em>\u2018The Four\u2019. On the conservation and research into J\u00f3zef Che\u0142mo\u0144ski\u2019s painting<\/em><\/strong>\u2013 8 August \u2013 30 November 2025 \u2013 an exhibition dedicated to the history, conservation and research into J\u00f3zef Che\u0142mo\u0144ski\u2019s \u2018The Four\u2019, carried out by a team from the Studio and Lanboz (2020\u20132024). An exhibition accompanying the artist\u2019s monographic exhibition in the MNK Main Building.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exhibition curators: Dr Dominika Sarkowicz, Gabriela Banach-Kielanowska, Marzena Sieklucka, Joanna Zwinczak (Painting and Sculpture Conservation Workshop in the MNK Sukiennice), Dr Julio M. del Hoyo-Mel\u00e9ndez, Dr Anna Klisi\u0144ska-Kopacz, Aldona Kopyciak, Paulina Krupska-Wolas, Marta Matosz, Micha\u0142 Obarzanowski, Dr Anna Rygu\u0142a, Karolina Sk\u00f3ra, Dr Tomasz Wilkosz (Laboratory for Analysis and Non-Destructive Testing of Historic Objects)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exhibition design: Magdalena Bujak<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>Winter in a Small Town \u2013<\/em><\/strong> <strong><em>a recovered work by Maksymilian Gierymski<\/em><\/strong> \u2013 display of a recovered war loss following conservation, Temporary Exhibition Hall at the MNK Sukiennice, 8 June 2021. Presented by: Marzena Sieklucka<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>In Search of Arcadia<\/em><\/strong> \u2013 an exhibition of works by Henryk Siemiradzki from the collection of the Lviv Art Gallery, accompanying the project \u2018The Corpus of Henryk Siemiradzki\u2019s Paintings\u2019; Temporary Exhibition Hall at the MNK Sukiennice, 18 May\u20137 August 2016. Curated by: Beata Studzi\u017cba-Kubalska; Exhibition design: Magdalena Bujak<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>Artists \u2013 Witnesses to the January Uprising of 1863<\/em><\/strong> \u2013 22 January\u201326 May 2013, Temporary Exhibition Hall at MNK Sukiennice. Concept: Gabriela Banach-Kielanowska.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exhibition design: El\u017cbieta Szurpicka.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*G. Banach-Kielanowska, \u2018Portrait of an Insurgent from 1863\u2019, Spotkania z Zabytkami, 3\u20134, (2023)<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div id=\"history-of-the-workshop\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-29456ddf\" id=\"button-item-29456ddf\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-29456ddf\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">History of the workshop<\/span><\/div><\/div><\/div><div id=\"collapse-item-29456ddf\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-29456ddf\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<p class=\"wp-block-paragraph\">The conservation workshop has been associated with the MNK Sukiennice almost since the Museum\u2019s inception; formally, it has been operating with permanent staff for several decades. Its establishment marked the culmination of efforts to ensure professional care for the growing collection and, at the same time, opened a new department that was vital for the preservation of the collections. Before the workshop was established with a permanent conservator\u2019s post, conservation work was commissioned from external contractors, most often painters. Among them, W\u0142adys\u0142aw Pochwalski (1860\u20131924) rendered outstanding service to museum conservation, restoring oil paintings on both canvas and wooden panels. Many of the works on display at the Gallery of 19th-Century Polish Art in the MNK Sukiennice still bear traces of those interventions, carried out either by Pochwalski himself or under his supervision. The scope of the work was varied \u2013 ranging from preventive conservation, through surface cleaning, to the application of varnish to the paint layers. Products from the industrial chemistry sector \u2013 which had been developing rapidly since the 19th century \u2013 were utilised, including an ever-widening range of artistic and conservation materials. Some of these historical preparations have been preserved in their original packaging and are still carefully stored in the MNK Sukiennice; they have also become the subject of a scholarly study*.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Painting and Sculpture Conservation Workshop, with a full-time conservator, was established in <strong>1935<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*E. Dole\u017cy\u0144ska-Sewerniak, E. Zygier, \u2018Conservation materials used in the former Painting and Sculpture Conservation Workshop at the MNK Sukiennice\u2019, <em>Opuscula Musealia,<\/em> 20, pp. 109\u2013128.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">*M. Go\u0142\u0119biowski, E. Dole\u017cy\u0144ska-Sewerniak, E. Zygier, \u201cChemical analysis of historical art materials from the National Museum in Krak\u00f3w using gas chromatography\u2013mass spectrometry (GC-MS)\u201d, <em>Spectroscopy Letters<\/em>, 2013. DOI:10.1080\/00387010.2013.772901<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Between 1928 and 1935, the Museum\u2019s management commissioned Mieczys\u0142aw G\u0105secki (1883\u20131948) to carry out conservation work. G\u0105secki was a painter and a highly regarded restorer, known in artistic circles, amongst other things, for his friendship with Jacek Malczewski. He was entrusted with the museum\u2019s paintings, which were sent to his private studio, though he also carried out work on site at the MNK Sukiennice. He continued to collaborate with the National Museum in Krak\u00f3w even after the Museum had established its own conservation studio with its own staff.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first person to be employed on a permanent basis was Anna Skraszanka-Szuster (1908\u20131948) \u2013 a Master of Philosophy, art historian and graduate of painting and painting conservation at the Academy of Fine Arts in Krak\u00f3w. Archival records indicate that she set up the first workshop in the MNK Szo\u0142ayski House at 11 Szczepa\u0144ska Street, but the conservation work documented during this period on MNK Matejko\u2019s large canvases *Ko\u015bciuszko at Rac\u0142awice* and *Wernyhora* was certainly carried out in the MNK Sukiennice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The outbreak of the Second World War shaped conservation activities for many years to come. It became necessary to evacuate the collections and safeguard them, and, after the war ended, to conserve the damaged works. In 1945, the Workshop\u2019s most important task was the conservation of Jan Matejko\u2019s *The Prussian Homage*. This was carried out at the MNK Sukiennice, with the participation of the conservators employed there \u2013 Anna Skraszanka-Schusterowa and Irena Bobrowska \u2013 as well as Mieczys\u0142aw G\u0105secki. The work carried out attracted considerable attention and was documented by the press (<em>MNK Matejko\u2019s Masterpiece Returns to Its Former Glory<\/em>, *Przekr\u00f3j* 14, 15\u201321 July 1945).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the 1960s onwards, the importance of museum conservation grew, leading to the expansion of the workshop. In 1961, Maria Niedzielska (1923\u20132012) set up a small chemical laboratory at the MNK Sukiennice to carry out research on artefacts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the years that followed, the workshop expanded. Two large rooms, together with small storage areas, were allocated for its operations. Successive heads of the workshop expanded the team of specialists looking after the museum\u2019s collections. In the 1990s and 2000s, the workshop employed as many as a dozen or so qualified conservators and restorers, which made it possible to tackle the challenges of conserving large-format paintings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 2005\u20132006, in connection with the planned renovation of the MNK Sukiennice, the entire 19th-century art collection (from the galleries and storerooms) was relocated, along with the temporary relocation of the conservation workshop. Part of the collection at the Royal Castle in Niepo\u0142omice was used to create the permanent exhibition \u2018MNK Sukiennice 2\u2019, which to this day, albeit in a modified form, remains under the ongoing care of the Painting and Sculpture Conservation Workshop at the MNK Sukiennice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At that time, some of the conservators from the workshop at the MNK Sukiennice joined the team at the newly opened Painting and Sculpture Conservation Workshop at the Bishop MNK Cio\u0142ek Palace.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thanks to funding from the Norwegian Financial Mechanism as part of the \u2018New MNK Sukiennice\u2019 project, between 2007 and 2010 the Painting and Sculpture Conservation Workshop at the MNK Sukiennice was completely modernised and equipped with the specialist equipment required for the examination and conservation of artefacts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Heads of the workshop since 1935*:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Anna Skraszanka-Szuster<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Irena Bobrowska<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Andrzej Za\u0142uski<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Teresa Maria Marek<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Anna Nowak-Tarnowska<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Czes\u0142awa Be\u0142z<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Krystyna Bartel-Bochnak<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Barbara Ptak<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Beata Nowak<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; El\u017cbieta Zygier, currently Chief Conservator at the National Museum in Krak\u00f3w<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211; Dominika Sarkowicz (since 2019)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">* E. Zygier, \u2018History of the Painting and Sculpture Conservation Workshop at the MNK Sukiennice\u2019, <em>Proceedings of the National Museum in Krak\u00f3w<\/em>, VI (2013), pp. 363\u2013384.<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div id=\"work-experience-internships\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-f674f03d\" id=\"button-item-f674f03d\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-f674f03d\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">Work experience, internships<\/span><\/div><\/div><\/div><div id=\"collapse-item-f674f03d\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-f674f03d\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<p class=\"wp-block-paragraph\">Students and trainees from conservation departments in Poland (including an ongoing partnership with the Academy of Fine Arts in Krak\u00f3w) and abroad (France, Ukraine, Belarus and Germany) undertake work placements and internships at the MNK Sukiennice Workshop.<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:44px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Workshop team: The Painting and Sculpture Conservation Workshop at the MNK Sukiennice combines tradition with modernity. It is the oldest of the twelve workshops making up the Conservation Department of the National Museum in Krak\u00f3w \u2013 its history dates back to the early 20th century. In 2010, it was completely modernised and refitted. The Workshop\u2019s [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":35730,"parent":24188,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-24205","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24205","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/comments?post=24205"}],"version-history":[{"count":3,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24205\/revisions"}],"predecessor-version":[{"id":42941,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24205\/revisions\/42941"}],"up":[{"embeddable":true,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24188"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/media\/35730"}],"wp:attachment":[{"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/media?parent=24205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}