Konzervatorsko-restauratorski radovi na slici „Bogorodica bezgrešnog začeća“, privatno vlasništvo

master's thesis

• Author: Patricia Prevarek
• Mentor: Barbara Horvat Kavazović (mentor)
• Committee member: Tamara Ukrainčik (predsjednik povjerenstva)
• Committee member: Suzana Damiani (član povjerenstva)
• Committee member: Domagoj Šatović (član povjerenstva)
• Granter: University of Zagreb; Academy of Fine Arts; (Department of Conservation and Restoration); Zagreb
• Defense date and country: 2019-06-04, Croatia
• Scientific / art field, discipline and subdiscipline: FIELD OF ART; Fine Arts

Abstract

U suglasnosti s mentoricom doc. art. Barbarom Horvat Kavazović i gospodinom Nikicom Milasom, vlasnikom slike, za objekt diplomskog rada odabrana je figurativna slika Bogorodica bezgrešnog začeća, nepoznatog autora. Na slici manjih dimenzija u kvalitetno izvedenom ukrasnom okviru između dva zaštitna stakla, pronađenoj na jednom od sajmova antikviteta u Zagrebu, vlasnik je prepoznao njenu umjetničku vrijednost te ju je prepustio u ruke stručnjaka zagrebačke Akademije likovnih umjetnosti u Zagrebu, na Odsjek za konzerviranje i restauriranje umjetnina. S obzirom da je vlasniku postojeće stanje umjetnine priraslo srcu, pokušao se pronaći način kako pristupiti radovima bez da se izvedu cjeloviti restauratorski radovi već samo oni nužni, konzervatorski. S obzirom na količinu oštećenja slikanog sloja i sloja osnove koji bi olakšali prodor vlage i daljnji gubitak slojeva te na nedostatak prihvatljivog sekundarnog nosioca, u dogovoru s mentoricom i vlasnikom, odlučeno je da će se izvesti cjeloviti konzervatorsko-restauratorski radovi. U sklopu toga, u cjelini Metode i materijali istražene su metode nadoknade u sloju osnove izradom nekoliko proba s najkompatibilnijim materijalima s obzirom na izvornu tehnologiju slike, te mogućnosti njihove završne obrade. U cjelini Konzervatorsko-restauratorska istraživanja pokušalo se smjestiti sliku u kontekst vremena s obzirom da o njoj ne postoji puno podataka. Jedina dana informacija je papirić manjih dimenzija pronađen na poleđini umjetnine koji opisuje navodna povijesnoumjetnička događanja vremena kada je slika nastala. S navedenim je uspoređen stil i oblikovanje umjetničkog djela kao i izvedene analize na Odsjeku kako bi se što točnije odredilo vrijeme nastanka slike. U konačnici je u konzervatorsko-restauratorske radove uključen ukrasni okvir bez stakla kao i spomenuti papir koji su ukomponirani u završnu prezentaciju djela.

Abstract (english)

In accordance with mentor doc. art. Barbara Horvat Kavazović and Mr. Nikica Milas as artwork's owner, the figurative painting Immaculate Conception by an unknown author was chosen for the subject of the diploma work. In the image of smaller dimensions, in a well-made ornamental frame between two protective sheets of glass, found at one of the antiques fair in Zagreb, the owner recognized its artistic value and handed it into the hands of experts from the Zagreb Academy of Fine Arts in Zagreb, at the Department of Conservation and Restoration of works of art. Given the fact that the existing state of artwork has grown on Mr. Milas's, the need for complete restoration treatments did not exist. Given that it has a large amount of missing areas in the painted layer and the ground layer which would facilitate future penetration of moisture and further loss of layers, and a complete lack of any secondary support, it was decided in agreement with the mentor and the owner, to carry out all the needed conservation and restoration treatments. As a part of this, within the chapter Methods and materials different materials have been researched, their characteristics, compatibility with the original painting technology, and the possibilities of achieving a desired finish. The chapter Conservation and Restoration Research has attempted to locate the painting origin and period since there is not much information about it. The only given information is the paper of smaller dimensions found on the back of the artwork, depicting the alleged historical-artistic events of the time when the painting was made. Comparing the style and shaping of the work of art, as well as the analysis performed on the Department, it helped to give a more accurate picture of the time of emergence the artwork. Finally, the conservation and restoration treatments included the decorative frame without glass as well as the mentioned piece of paper, which was ultimately incorporated into the final presentation of the work.

• Keywords: konzervatorsko-restauratorski radovi; štafelajna slika; ukrasni okvir; papir; nadoknada u sloju osnove
• Keywords (english): conservation and restoration treatments; easel paintings; decorative frames; paper; filling the base layer
• Language: croatian
• URN:NBN: urn:nbn:hr:215:161241
• Study programme: Title: Conservation and Restoration; specializations in: Painting, Sculpture; Course: Painting; Study programme type: university; Study level: integrated undergraduate and graduate; Academic / professional title: magistar/magistra restauriranja i konzerviranja umjetnina (magistar/magistra restauriranja i konzerviranja umjetnina)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Access restricted to students and staff of home institution
• Created on: 2020-09-10 08:24:49