| Abstract | Skulptura Sv. Matej evanđelist prvi put se spominje 1748. godine i pripada skupini evanđelista (Sv. Luka, Sv. Ivan i Sv. Marko). Sve četiri drvene polikromirane skulpture evanđelista potječu iz Župne crkve Presvetog Srca Isusova i Sv. Ladislava u Malom Ravnu, gdje su krasile konzole barokne propovjedaonice. Poslane su na pohranu Dijecezanskom muzeju Zagrebačke nadbiskupije 1941. godine. Skulptura Sv. Mateja pronađena je 2010. godine u kapeli Uznesenja Blažene Djevice Marije u Gornjem Tkalcu na niši glavnog oltara zajedno sa skulpturom Sv. Ivana. U kapelu su dospjele na poticaj župljana, 1987. godine. Posuđene su iz Dijecezanskog muzeja Zagrebačke nadbiskupije kako bi popunile niše glavnog oltara, iz kojeg su par godina ranije bile ukradene izvorne skulpture. Zatečene su u vrlo lošem stanju. U međuvremenu je glavni oltar u kapeli u Gornjem Tkalcu zbog ugroženosti demontiran i pohranjen u Bjelovaru, u čuvaonicu Ordinarija novoosnovane Bjelovarsko-križevačke biskupije. Zajedno s oltarom pohranjena je i skulptura Sv. Mateja (također i skulptura Sv. Ivana) te je u nadležnosti Bjelovarsko-križevačke dijeceze i Konzervatorskog odjela u Bjelovaru. Na skulpturama Sv. Marka i Sv. Luke provedeni su konzervatorsko-restauratorski radovi 2010. i 2011. godine u sklopu nastave na Odsjeku za konzerviranje i restauriranje umjetnina na Akademiji likovnih umjetnosti u Zagrebu. Obrada i izgled skulpture Sv. Mateja evanđelista imaju barokne karakteristike: dinamičan pokret ruku koje ulaze u prostor; dijagonalna kompozicija; konkavno-konveksna masa; velike, izražene oči. Kontekst i smještaj skulpture, na propovjedaonici, karakteristike prostora te povijest crkve također ukazuju da je ova skulptura iz razdoblja baroka. Dvije konzervirane i restaurirane skulpture svojom bogatom polikromijom i lazurama također daju obilježja baroka. Skulptura Sv. Mateja evanđelista prikazuje muškarca duge smeđe kose i brade u blagom kontrapostu. Odjeven je bijelu haljinu s plavim potezima na naborima i plašt koji je djelomično pozlaćen. Lijeva ruka sugerira gestu govora lagano pružena prema van, a desna je dlanom položena na prsa. Pogled i glava su usmjereni prema naprijed. S lijeva dolje uz nogu nalazi se njegov atribut; nagi dječak / kerub rumenih punijih obraza s pozlaćenom draperijom oko bokova. Cijelom površinom skulpture prisutna su oštećenja nastala djelovanjem crvotočine, te dublja i plića mehanička oštećenja svih slojeva. Formi nedostaju mnogi dijelovi – obje podlaktice djeteta, dijelovi prstiju lijeve šake Sv. Mateja i lijevo stopalo na dječaku / kerubu, također i palac njegove desne noge. Drvo se osipa i spužvasto je, posebice uz mjesta mehaničkih oštećenja i u zoni postolja. Zaključeno je da na skulpturi postoje 2 kronološka sloja, ali skulptura nije u potpunosti preslikana. Dio pozlaćenog plašta je pošteđen preslika, a tamno zelena lazura koja se nalazi na posrebrenoj haljini preslikana je bijelom bojom s plavim potezima. Na postolju, koji je originalno svjetlije zelene boje, vidimo tamniji zeleni preslik. Sondiranjem na desnoj strani brade uz kosu evanđelista ustanovljeno je da postoje dva kronološka sloja inkarnata. Prvi kronološki sloj nešto je svjetliji od drugog i u znatno lošijem je stanju. Sačuvano je vrlo malo prvoga kronološkog sloja te je odlučeno da se na skulpturi ne uklanja drugi kronološki sloj inkarnata – kao i na ostale tri skulpture iz iste skupine. Na skulpturi su obavljeni svi potrebni konzervatorsko-restauratorski radovi - preventivno podljepljivanje, čišćenje površinske prljavštine, konsolidiranje nosioca, uklanjanje laka s poleđine skulpture, podljepljivanje, djelomično uklanjanje preslika, izrada nadoknada u slojevima osnove i nosioca, rekonstrukcija palca i kažiprsta desne ruke evanđelista i lijevog stopala dječaka, izrada nadoknada u sloju metalnih listića, retuš oslika i završno lakiranje. Konzervatorsko-restauratorske radove je pratila pisana, grafička i fotografska dokumentacija. Četiri evanđelista čine ikonografsku i estetsku cjelinu koju je potrebno ponovno vratiti na okup, u prvobitan kontekst skupine evanđelista. Skupina će biti izložena u postavu budućeg Dijecezanskog muzeja Bjelovarsko-križevačke biskupije. Teorijski dio ovog diplomskog rada sadrži osvrt na pravna načela konzervatorskorestauratorske struke. U konzultacijama s komentoricom Zrinkom Studen, prof., višom stručnom savjetnicom iz Konzervatorskog odjela u Bjelovaru prikazana je i objašnjena sva potrebna dokumentacija koja će ujedno poslužiti studentima, budućim konzervatorimarestauratorima kako bi dobili jasniji uvid u to što je sve potrebno od pravnih, zakonom propisanih dokumenata prije, tijekom i po završetku rada na umjetnini. |
| Abstract (english) | Sculpture of St. Matthew the Evangelist is first mentioned in 1748. and belongs to the group of evangelists (St. Luke, St. John and St. Mark). All four wooden polychrome sculptures of evangelists come from the Parish Church of the Sacred Heart of Jesus and St. Ladislav in Mali Ravno, where they decorated the consoles of the baroque pulpit. They were archived in the Diocesan Museum of the Archdiocese of Zagreb in 1941. Sculpture of St. Matthew was found in 2010 in the chapel of the Assumption of the Blessed Virgin Mary in Gornji Tkalac in the niche of the main altar together with the sculpture of St. Ivan. They arrived to the chapel at the instigation of the parishioners in 1987. They were borrowed from the Diocesan Museum of the Archdiocese of Zagreb to fill in the niches of the main altar, from which the original sculptures were stolen a few years earlier. They were found in a very bad condition. In the meantime, the main altar in the chapel in Gornji Tkalac was dismantled and stored in Bjelovar, in the custody of the Ordinariate of the newly founded Diocese of Bjelovar- Križevci. Together with the altar, the sculpture of St. Matthew (as well as the sculpture of saint John) is archived and under the jurisdiction of the Diocese of Bjelovar-Križevci and the Conservation Department in Bjelovar. On the sculptures of St. Mark and St. Luke, conservation and restoration works were carried out in 2010 and 2011 as a part of the classes at the Department of Art Conservation and Restoration at the Academy of Fine Arts in Zagreb. Treatment and appearance of the sculpture of St. Matthew the Evangelist has baroque characteristics: the dynamic movement of the hands that enter the space; diagonal composition; concave-convex mass; large, prominent eyes. The context and placement of the sculpture, on the pulpit, the characteristics of the space and the history of the church also indicate that this sculpture is from the Baroque period. The two conserved and restored sculptures also give characteristics of the Baroque, with their rich polychromy and glazes. Sculpture of St. Matthew the Evangelist depicts a bearded man with long brown hair, standing in contrapposto position. He is wearing a white gown with blue strokes at the folds and a cloak that is partially gilded. The left hand slightly extended outward suggests a speech gesture and the right hand is placed with the palm on the chest. The gaze and the head are directed forward. On the lower left at the foot is his attribute; naked boy / cherub with ruddy plump cheeks dressed in gilded drapery around hips. The entire surface of the sculpture contains wormholes caused by insects, as well as both deep and shallow mechanical damages in all the layers. The form is missing many parts - both forearms of the child, parts of the fingers of the left hand of St. Matthew and the left foot of the boy / cherub, also the big toe of his right foot. The wood has a sponge texture and it sheds, especially near places of the mechanical damages and at the base. It was concluded that there are 2 chronological layers of the sculpture, but the sculpture was not completely painted over. Part of the gilded mantle was spared of the new coat of paint, and the dark green glaze on the silver-plated gown was painted over in white with blue strokes. On the green pedestal, which is originally a lighter green color, we see a darker green coat of paint. Investigative probing on the right side of the beard next to the evangelist's hair revealed that there are two chronological layers of the incarnate. The first chronological layer is slightly lighter than the second and is in much worse condition. Very little of the first chronological layer was preserved, and it was decided not to remove the second chronological layer of the incarnation on the sculpture - as well as on the other three sculptures from the same group. All necessary conservation-restoration work was performed on the sculpture - preventive gluing, cleaning of surface dirt, consolidation of the carrier, removal of varnish from the back of the sculpture, gluing, partial removal of the coats of paint, construction of the missing parts of the base and carrier layers, reconstruction of the thumb and forefinger of the evangelist's right hand and left boy's foot, add on of the missing parts on the metal sheet layer, retouching of the coat of paint and final varnishing. The four evangelists form an iconographic and aesthetic whole that needs to be reunited again, in the original context of the group of evangelists. The group will be exhibited in the coming Diocesan Museum of the Diocese of Bjelovar-Križevci. Conservation and restoration works were accompanied by written, graphic and photographic documentation. The theoretical part of this thesis contains a review of the legal principles of the conservationrestoration profession. In consultation with comentor Zrinka Studen, prof., senior expert advisor at the Conservation Department in Bjelovar, all the necessary documentation was presented and explained, which will also serve students, future conservators-restorers in order to get a clearer insight into what is required from legal, documents prescribed by law, before, during and after completion of work on the artwork. |
