The primary conservation issue is to work out adequate aesthetic solutions and to recognise the integrity of the work by preserving its original elements. With no existing reference to the documented original form of the painting, the main idea of the project is to minimise restoration work as much as possible for the sake of respect for the history of the object.
The lack of specific information regarding the history of the painting makes it difficult or even impossible to regard any of the probable versions as certain. Putting a proverbial period on this issue seems impossible. The history of the painting, as well as the figure presented on it, remain shrouded in mystery, thereby gaining the status of one of many intriguing puzzles.
Born 1993. She studied at the Faculty of Conservation and Restoration of the Academy of Fine Arts in Warsaw in 2013–2020. She received a number of scholarships from the Rector of the Academy of Fine Arts. She specialises in the conservation and restoration of easel painting on various bases, wall polychromes, as well as wooden polychrome and gilded sculptures. She also conducts conservation projects of interdisciplinary modern art. She has broad experience in co-operating with numerous conservation firms and museums, both in Poland and abroad.
promotor: Dr hab. Joanna Czernichowska, Assoc. Prof.
The conservation of this heavily destroyed painting is an example of economical conservation limited to the partial removal of secondary layers, suspension of the destruction process, reinforcement of the structure of the work and integration of visually ‘torn’ fragments of the painting composition.
Justyna profoundly analysed the results of her own examination of the painting: the original work and results of former restoration measures, determined the chronology of layers and indicated aesthetic changes that occurred as a result of former conservation works. She consciously decided on actions to be undertaken and completed her work with adequate care by selecting proper means and methods.
The aesthetic effects of the conservation of the painting layer surpassed the expected results thanks to the revelation of the original colour arrangement and texture of the painting. During the integration of the composition, Justyna made use of the contemporary state of conservation knowledge that respects the integrity of the work and limits interference in the original painting. She highlighted the original elements of the composition, partly retaining the witnesses of historical interference. She demonstrated great aesthetic sense and artistic skills.