In October 2024, conservation work was completed on an oil painting on canvas entitled. ‘The Holy Trinity’ from the Roman Catholic Church of St John the Almsman in Orchowek, in the Wlodawa district. Despite the completion of the restoration, the effects of the work became the subject of heated discussions. Critical voices pointing to inappropriate aesthetic changes have divided public opinion, raising the question: conservation or devastation?
The history of the ‘Holy Trinity’ painting and the conservation status of the work
The painting, measuring 210 x 115 cm and dating from the 17th/18th century, is entered in the register of movable monuments of the Lublin Province. Before conservation, it was in a very poor technical condition, which ruled out its display in the church. Numerous unprofessional repairs, such as local kits, repainting and patches on the back of the canvas, had significantly affected its condition. In addition, the painting was without a frame and stretched on a degraded loom, which posed a major challenge for conservators.
The painting ‘The Holy Trinity’, condition during the removal of a layer of dirt, photo by Agata Woźniak-Niemkiewicz
Conservation work on a historical painting
The conservation work, initiated by Fr Jacek Romanek, then parish priest in Orchówek, and continued by Fr Tomasz Mędrek, the present parish priest, was carried out by Agata Woźniak-Niemkiewicz, a qualified conservator of easel paintings. The work involved many stages. The painting was taken off the loom and cleaned of dirt and darkened varnish. Local repainting and unprofessional restorations of the mortar layer were also removed. The paint layer was impregnated and the defects in the canvas were filled in, allowing the colour and formal integrity of the whole. Finally, a protective varnish was applied and the painting was set in a new, stylised frame, adapted to its display in the church.
‘The Holy Trinity’ – criticism and reactions
The effects of the work provoked criticism from some internet users, who pointed out that the aesthetic changes to the painting were too far-reaching. One of the main criticisms was the removal of the repaints, which some commentators felt were more valuable than the effect of the works. In addition, there was criticism of the damage to the original paint layer, especially in the upper and lower parts of the composition. However, Agata Woźniak-Niemkiewicz counters the accusations by emphasising that all the work was carried out in accordance with the principles of the art of conservation and on the basis of research into the technical condition of the painting. The decision to remove the repaints was due to their incompatibility with the original composition. The reconstruction was necessary to adapt the monument to its liturgical purpose, which required visual legibility and colour harmony. Experts point out that the painting could have been painted by at least two people, which made the restoration process even more difficult.
‘The Holy Trinity’ before and after restoration. Photo: Archive of the WUOZ Branch Office in Chełm
The Lublin Provincial Conservator of Monuments has announced the appointment of a conservation commission to reassess the quality of the work carried out. The commission will include representatives of the LWKZ, independent experts and the renovation contractor. The aim of this is to dispel doubts and make sure that the renovation was in line with the principles of heritage protection. The work was carried out under a grant provided by the Lubelskie Voivodeship Conservator of Monuments in Lublin as part of funds allocated by the Lubelskie Voivode.
Source: Lublin Voivodeship Conservator of Monuments, Conservator of Monuments
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