Colours of the Palace
On returning to the Palace after a long break, its visitors ask the following question: Whence these colours? Why are they so distinctive, so distant from the neutral décor we have all grown accustomed to over the years?
The Palace has changed as a result of the recently executed restoration of its façade. Its present look is based on the results of technical analyses, long scientific research and exhausting, though inspiring, discussion. They were the 
key to proper conservation and restoration of the Palace elevations. Research on Baroque art in Wilanów helps us to get a better idea of the period aesthetics, but also the impressionism of integral perception of art as a means of strengthening rhetoric splendour conveyed by a work of art. Based on preliminary findings on the use of colours in decorating the Palace, we can formulate a hypothesis that the architectural design and decoration of its facades and its interior walls, both in painting and sculpture, were unified in colours. A good example and an explanation in one are provided by the set of colours used in the main facade of the Palace between the towers, dating to the times of King Jan III.
The Palace wings were constructed in 1720s. Restoration works carried out in recent years managed to reconstruct the Baroque composition 
of colours in ca. 90%. The choice of colours was made on the basis of findings obtained from extensive and meticulous technological and conservation research that involved the entire wall surface with ca. 20% original plasters and coats of paint. It is highly probable that originally there were two sets of colours, defined in simplified terms as red (pink and cherry decoration) made in 1682–1688 and yellow (golden and cherry decoration) made in 1692–1696. The project has not been finished yet for various reasons (methodical, technological, economic and other). So far we have not yet learnt the topography of colours relating to architectural details.
We have postponed the reconstruction of the original programme until we amass data from the ongoing research on the 
garden-side elevation. Only then will we resume the discussion on the composition and saturation of colours, strong in tones, as we already know, and applied also on the stone window frames and portals, excluding sculptures. Ahead of us is the application of the third and last layer of glaze, technically composed to fully reflect the Wilanów vibrant yellow. It will be up to subtle interpretation of restorers to imitate the shades of paint faithfully. It applies to the red bas-reliefs in the triumphant arches of the garden galleries, where only traces of outlines are legible in the background, around sculptured forms, probably with additional chiaroscuro modelling and gilded details. Capitals of semi-columns were in these parts of the facades painted red. Other capitals have presumably retained the colour of sandstone. Two coloured capitals are accompanied by their painted shadows. A similar illusion was created by herms in the portals.
Such discoveries have a huge potential for interpretation. We can perceive the Palace symbolically, by seeing it just as a building made of white marble, 
wrapped with a golden lace of tectonics characteristic for the Corinthian architectural order, with applied porphyry ornaments, which depict the most significant scenes glorifying the persons of King Jan III and Queen Maria Kazimiera. Another direction of research is determined by colours themselves. Yellow and red belong to the primary colours, whose meaning for art was vividly discussed in the French Academy at that time. Let us add to these hues the sky blue and the verdigris turquoise on copper metal sheet.A separate group of problems constitutes the co-existence of local tradition on the one hand with Italian and French influence on the other, not only in case of architecture but the overall artistic form of the Palace with its garden and landscape. All this creates a challenge and a responsibility in applying the research findings.
Paweł Jaskanis, Director of Wilanów Palace Museum