The splitting treatment on the obverse of the right, smaller wing of the Łącko Triptych from the beggining of the XVI-century

Author: Maria Kisiel
Mentor: Marta Lempart-Geratowska, Associate Professor

Jan Matejko Academy of Fine Arts in Kraków (Poland)
Study  programme: Conservation and Restoration of Art
Specialization: Conservation-restoration of paintings, 6th study year  


KISIEL MariaThe aim of my presentation is to show the splitting treatment research, conservation and restoration of a panel paintings which were a part of the Łącko Tryptych(Lesser Poland). The paintings were on the obverse of the right wing. The 16th century underlayer depicting St. Peter and St. Nicolas was covered in 17th century by a baroque painting with the image of St. Rosalia. My conservation programme included the seperation of the two painting layers and transferring the most recent one to a new support. As this intervention was very difficult and risky, the capabilities of the splitting treatment were preceded by very precise research.
In my presentation I want to show the splitting treatment, which consists of:
• facing the upper paint layer
• softening of the baroque layer by temperature and chemical substances
• a step-by-step undercutting using scalpel
• adding expansion putty on the back and lining
• embedding the transferred baroque painting to the new lime support in the shape of the original one
• filling the looses
• cleaning the residue, varnish and dirt of the gothic painting.
Despite the fact that the splitting treatment is a quite controversial method, in my opinion it is worth looking into.

Short biography

MARIA KISIEL (b. 1989 in Cracow) started the Faculty of Conservation and Restoration of Arts at the Academy of Fine Arts in Cracow in 2008. She won the Minister scholarships(2011, 2013) she was also awarded the Jan Matejko grant(2013), as well as the award of the Rector of the Academy. During her studies she worked on panel paintings, wall paintings and paper conservation. She took part in the Erasmus exchange in Antwerp, where she was studying the conservation method of glass and marble sculpture.