{"id":24208,"date":"2026-04-16T12:36:19","date_gmt":"2026-04-16T10:36:19","guid":{"rendered":"https:\/\/new.mnk.pl\/activity\/conservation\/pracownia-konserwacji-malarstwa-i-rzezby-w-muzeum-ksiazat-czartoryskich\/"},"modified":"2026-09-12T19:35:37","modified_gmt":"2026-09-12T17:35:37","slug":"the-painting-conservation-studio-at-the-princes-czartoryski-museum","status":"publish","type":"page","link":"https:\/\/mnk.pl\/en\/activity\/conservation\/the-painting-conservation-studio-at-the-princes-czartoryski-museum\/","title":{"rendered":"The Painting Conservation Studio at the Princes Czartoryski Museum"},"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 alignfull size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"875\" height=\"496\" src=\"https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-main-1.jpg\" alt=\"Dwie niemal identyczne reprodukcje obrazu ustawione obok siebie przedstawiaj\u0105 t\u0142um m\u0119\u017cczyzn, kobiet i dzieci zgromadzonych na polanie pod drzewami, z centralnie stoj\u0105c\u0105 postaci\u0105 w br\u0105zowej szacie gestykuluj\u0105c\u0105 do zgromadzonych; na pierwszym planie osoby w pelerynach, kapeluszach i chustach oraz siedz\u0105cy pies, a w tle morze i odleg\u0142y pag\u00f3rek.\" class=\"wp-image-42928\" srcset=\"https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-main-1.jpg 875w, https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-main-1-300x170.jpg 300w, https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-main-1-768x435.jpg 768w\" sizes=\"auto, (max-width: 875px) 100vw, 875px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The Painting Conservation Workshop at the MNK Czartoryski Museum looks after the collection of paintings belonging to the National Museum and the MNK Czartoryski Collection. It was established in 1985 thanks to the long-standing efforts of Dr Marek Rostworowski, the head of the Department. The task of establishing and managing the Workshop was entrusted to Krystyna Bartel-Bochnak, an experienced conservator at the National Museum in Krak\u00f3w.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the workshop\u2019s first achievements was preparing the objects for the exhibition \u2018Jews \u2013 Poles\u2019, presented at the National Museum in Krak\u00f3w in 1989\u20131990. The team\u2019s key tasks included caring for the numerous paintings and works of decorative art \u2013 diverse in terms of technique and state of preservation \u2013 which were on display at the Klasztorek until 2011, as well as the ancient art exhibits at the MNK Arsenal, and preparing these objects for exhibition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The studio exercises conservation supervision over the storage conditions and state of preservation of the greatest masterpieces in the collection \u2013 Leonardo da Vinci\u2019s *Lady with an Ermine* and Rembrandt\u2019s *Landscape with the Good Samaritan*; its tasks also include courier services involved in overseeing the objects whilst on loan.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The most significant international exhibitions to which *Lady with an Ermine* has been loaned (along with conservation supervision) include: The painting has also been loaned to overseas exhibitions showcasing Polish collections: The workshop specialises in historical painting; its staff make full use of a modern museum conservator\u2019s workshop, whilst constantly bearing in mind the aesthetic values of the artefacts. Conservators also collaborate with specialists from many fields of science, which enables them to acquire extensive knowledge of the techniques, technology and history of the works. This allows them to devise the most appropriate and safe approach to handling the artefact.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Circa 1492 \u2013 Art of the Age of Discovery in Washington, 1991\u20131992<\/li>\n\n\n\n<li>the painting\u2019s journey to its homeland and its exhibition at the Pinacoteca di Brera in Milan, the Palazzo Pitti in Florence and the Quirinal Palace in Rome in 1998<\/li>\n\n\n\n<li>\u2018Faces of the Renaissance\u2019 at the Bode Museum in Berlin, where the Lady with an Ermine was the star attraction amongst works by masters such as Donatello and the Bellinis<\/li>\n\n\n\n<li>the unprecedented and prestigious exhibition <em>Leonardo da Vinci: Painter of the Milanese Court in London<\/em>, 2011\u20132012<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Leonardo da Vinci\u2019s \u2018Lady with an Ermine\u2019 \u2013 Treasures from the MNK Czartoryski Museum in Japan in 2001<\/li>\n\n\n\n<li>\u2018Leonardo da Vinci and the Splendour of Poland\u2019 \u2013 The History of Polish Collections in the United States in 2003<\/li>\n\n\n\n<li>\u2018Poland \u2013 Treasures and Art Collections\u2019 at the Royal Palace in Madrid in 2011.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The Studio\u2019s most recent project involved preparing artefacts for an exhibition at the new branch of the National Museum in Krak\u00f3w, EUROPEUM, where the most valuable works of European painting from the Krak\u00f3w Museum\u2019s collection are on display \u2013 by Lorenzo Lotto, Vlaminck, Bruegel, Strozzi, Cranach, Bellini and Dirck van Baburen.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Team<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Katarzyna Brzozowska \u2013 assistant, <a href=\"mailto:kbrzozowska@mnk.pl\"><u>kbrzozowska@mnk.pl<\/u><\/a><\/li>\n\n\n\n<li>Katarzyna Novljakovi\u0107 \u2013 senior conservator, head of the workshop, <a href=\"mailto:knovljakovic@mnk.pl\"><u>knovljakovic@mnk.pl<\/u><\/a><\/li>\n\n\n\n<li>Ma\u0142gorzata Chmielewska \u2013 senior conservator, <a href=\"mailto:mchmielewska@mnk.pl\"><u>mchmielewska@mnk.pl<\/u><\/a><\/li>\n\n\n\n<li>Dominika Tarsi\u0144ska-Petruk \u2013 senior conservator, <a href=\"mailto:dpetruk@mnk.pl\"><u>dpetruk@mnk.pl<\/u><\/a><\/li>\n<\/ul>\n\n\n    <div class=\"wp-block-mnk-contact-info-block contact-info-block\">\n      <h2><\/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 \u00a0370 54 60<\/p>\n                                      <div class=\"other-content d-flex flex-column\">\n                      <span>Krak\u00f3w, ul. Pijarska 6<\/span>\n                    <\/div>\n                                  <\/div>\n              <\/div>\n            \n                          <div class=\"customer-s-content\">\n                <svg class=\"icon\" aria-hidden=\"true\" focusable=\"false\"><use xlink:href=\"#email-icon\"><\/use><\/svg>\n                <div class=\"content d-flex flex-column\">\n                  <p><a href=\"mailto:knovljakovic@muzeum.krakow.pl\">knovljakovic@muzeum.krakow.pl<\/a><\/p>\n                <\/div>\n              <\/div>\n                      <\/div>\n        <\/div>\n\n        <div class=\"contact-info-bottom d-flex\">\n          \n                  <\/div>\n      <\/div>\n    <\/div>\n    \n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-mnk-accordion-group accordion-block\" data-show-numbers=\"false\"><div class=\"accordion\" id=\"accordion-539ba929\">\n<div id=\"examples-of-projects-carried-out-by-the-painting-and-sculpture-conservation-workshop-at-the-mnk-czartoryski-museum\" class=\"wp-block-mnk-accordion-block accordion-item\"><div class=\"accordion-button collapsed\" role=\"button\" tabindex=\"0\" aria-expanded=\"false\" aria-controls=\"collapse-item-58cb1682\" id=\"button-item-58cb1682\" data-bs-toggle=\"collapse\" data-bs-target=\"#collapse-item-58cb1682\"><div class=\"title-sec \"><div class=\"title-icon-sec d-flex align-items-center\"><span class=\"accordion-title\">Examples of projects carried out by the Painting and Sculpture Conservation Workshop at the MNK Czartoryski Museum<\/span><\/div><\/div><\/div><div id=\"collapse-item-58cb1682\" class=\"accordion-collapse collapse\" role=\"region\" aria-labelledby=\"button-item-58cb1682\" data-bs-parent=\"\"><div class=\"accordion-body\">\n<figure class=\"wp-block-image alignwide size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"478\" src=\"https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-pop_original-1024x478.jpg\" alt=\"Dwie s\u0105siaduj\u0105ce reprodukcje fragmentu obrazu przedstawiaj\u0105ce m\u0142od\u0105 osob\u0119 w per\u0142owej koronie i d\u0142ugich blond w\u0142osach, ubran\u0105 w ciemny p\u0142aszcz z futrzanym ko\u0142nierzem, na tle kamiennej kolumny i rozmytego g\u00f3rskiego pejza\u017cu \u2014 po lewej wersja o ch\u0142odniejszych, niebieskawych tonach, po prawej cieplejsza, z\u0142otawej kolorystyce.\" class=\"wp-image-20107\" srcset=\"https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-pop_original-1024x478.jpg 1024w, https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-pop_original-300x140.jpg 300w, https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-pop_original-768x358.jpg 768w, https:\/\/mnk.pl\/wp-content\/uploads\/2026\/04\/konserwacja-czartoryscy-pop_original.jpg 1065w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Landscape with the Good Samaritan<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Landscape with the Good Samaritan<\/em> by Harmens Rembrandt van Rijn, 1638, oil on oak panel.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The decision to undertake the restoration work was prompted by highly visible aesthetic changes on the picture\u2019s surface. The darkening and dulling of the varnish, retouching that had altered the colour scheme, and surface soiling were distorting the colour scheme and diminishing the painting\u2019s artistic merit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The conservation work was accompanied by physico-chemical analyses: X-ray, ultraviolet, infrared and sodium light imaging were carried out, along with dendrochronological studies and analyses of pigments, binders and ground. These analyses provided a more detailed understanding of the painting\u2019s technique and technology.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During the conservation process, the darkened secondary varnish and numerous old retouches, which partially obscured the original, were removed from the picture\u2019s surface. The work was carried out under a microscope, utilising observation under ultraviolet light. Putty was applied to areas where mortar was missing, as well as to the support boards. The paint layer was re-adhered to the support.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aesthetic conservation involved filling in losses in the paint layer to the extent necessary to ensure its integrity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The conservation work fully restored the work\u2019s original colour scheme and the clarity of detail, particularly in the darker areas of the painting, whilst also revealing its depth and perspective.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Date of conservation: 2003<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Conservators: <strong>Katarzyna Novljakovi\u0107, Anna Grochowska-Angelus<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>St Catherine of Alexandria<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>St Catherine of Alexandria<\/em> by Hans Suess von Kulmbach, tempera on panel, a fragment of the obverse of the left wing of the altarpiece from the Church of the Pauline Fathers at Ska\u0142ka in Krak\u00f3w, dated 1511.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The triptych comprised depictions of the Adoration of the Magi, the figure of St Barbara on the obverse of the right wing, and four scenes from the life of Mary on the reverses. The altarpiece was dismantled and the panels were divided into sections. The depiction of St Catherine of Alexandria was purchased by the MNK Czartoryski Museum in 1895 from the prior of the Pauline Order. At that time, the painting was oval in shape.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 1902, the painting underwent conservation work carried out by Alois Hauser, a highly regarded German specialist in this field and chief conservator of the painting gallery at the Kaiser-Friedrich-Museum in Berlin. He transformed the painting\u2019s oval shape into a rectangular one by adding a support and restoring the paint layer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Between 1999 and 2001, the painting was conserved by <strong>Ma\u0142gorzata Chmielewska<\/strong>. The painting underwent detailed examination \u2013 X-rays, ultraviolet and infrared photographs were taken, and analyses were carried out on the pigments, binders, ground and support. Prior to conservation, the painting was covered with several layers of yellowed varnish; once these were removed, the significantly darkened areas where the varnish had been retouched became visible. This was the reason for the decision to retain only the original painting. Whilst removing the colour-altered retouches, it was discovered that one of the panels of the oval support bore the remains of a completely different painting. Pigment identification tests showed that this fragment did not originate from the Kulmbach triptych. When restoring the paint layer, the principle of minimal intervention in the preserved painting was followed. For this reason, Hauser\u2019s reconstructions were not replicated. The guiding principle behind the current conservation work \u2013 to showcase Kulmbach\u2019s work exclusively in its authentic form \u2013 necessitated the design of a new frame. The oval shape of the painting was emphasised by adding an oak overlay \u2013 thus concealing the secondary rectangular support panel. A recessed frame with a coffered profile was also created, gilded and polychromed in two colours, featuring a selected ornament. In doing so, designs were drawn from existing examples of 16th-century frames.<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Painting Conservation Workshop at the MNK Czartoryski Museum looks after the collection of paintings belonging to the National Museum and the MNK Czartoryski Collection. It was established in 1985 thanks to the long-standing efforts of Dr Marek Rostworowski, the head of the Department. The task of establishing and managing the Workshop was entrusted to [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":24188,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-24208","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24208","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=24208"}],"version-history":[{"count":3,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24208\/revisions"}],"predecessor-version":[{"id":42947,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24208\/revisions\/42947"}],"up":[{"embeddable":true,"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/pages\/24188"}],"wp:attachment":[{"href":"https:\/\/mnk.pl\/en\/wp-json\/wp\/v2\/media?parent=24208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}