| Abstract | U ovom diplomskom radu opisani su konzervatorsko-restauratorski radovi izvedeni na slici "Šljuka" Izidora Junga. Štafelajna slika "Šljuka" likovni je rad slavonskog slikara Izidora Junga, naslikana 1910. godine u tehnici ulja na platnu. U vlasništvu je Muzeja Slavonije u Osijeku, koji je osnovan 1877. godine, kao Muzej slobodnog i kraljevskog grada Osijeka. Muzej je često mijenjao svoje sjedište, a od 1946. godine do danas nalazi se u osječkoj Tvrđi. Godine 1947. Muzej dobiva naziv koji se održao i do danas – Muzej Slavonije. Raznovrsnost i bogatstvo te kontinuirano prikupljane građe dovelo je osječki muzej do razine nacionalne institucije. Njegovu zbirku čine djela nastala od 18. do 21. stoljeća, pretežno iz 19. i prve polovice 20. stoljeća. Tematikom je zbirka vrlo raznolika: najbrojniji su portreti 19. stoljeća, zatim sakralne teme, krajolik, mrtve prirode, mitološke teme, a zastupljene su gotovo sve slikarske tehnike (ulje, akvarel, pastel, tempera, kolaž, mozaik, vitraj), stranih i domaćih slikara, među kojima su i djela osječkoga slikara Izidora Junga. Zbog vidljivih oštećenja Jungova slika "Šljuka", dopremljena je na Odsjek za konzerviranje i restauriranje umjetnina (OKIRU) 2017. godine, a konzervatorsko-restauratorski zahvati trajali su od studenoga 2017. do kolovoza 2020. godine. Saniranjem oštećenja koja su nastala tijekom vremena, uspostavljena je strukturalna stabilnost te estetika vizualnog doživljaja.
Učinjena je fotografska dokumentacija zatečenog stanja, izvedene su faze od podljepljivanja, čišćenja površinske prljavštine lica i poleđine slike, ponovnog napinjanja platna, rekonstrukcije osnove, do faze retuša i zaštitnog sloja. Navedeni su korišteni materijali i pribor, a u posebnom poglavlju opisane su analize materijala koje su provedene u laboratoriju Odsjeka za konzerviranje i restauriranje umjetnina na Akademiji likovnih umjetnosti u Zagrebu. U radu je opisano stanje i izgled slike prije radova, zabilježeno je fotografsko i grafičko stanje prije, tijekom i nakon provedenih konzervatorsko-restauratorskih radova.
U zasebnom poglavlju "Istraživanja veziva u kitovima za rekonstrukciju preparacije" opisane su probe nadoknade preparacije pri čemu je korištena kreda s različitim vezivima kako bi se utvrdile prednosti u radu sa svakim od njih.
U zaključku su iznijeti rezultati rada i izazovi koji su se pojavili u nekim fazama rada na slici. Nakon svih provedenih radnji i konzervatorsko-restauratorskih postupaka prema pravilima struke i etike slika je dobila reprezentativniji izgled od onoga koji je bio u zatečenom stanju. |
| Abstract (english) | This thesis describes conservation and restoration performed on the painting "Snipe" by Izidor Jung. Easel painting "Snipe" is an art of work by the famous Slavonian painter Izidor Jung, painted in 1910, in the oil on canvas technique. The painting is the property of the Museum of Slavonia, founded in 1877 when it was called the Museum of Free Royal City of Osijek. The museum changed its location many times but since 1946 it has been located in the famous Tvrđa fortress. Since 1947 the museum has been operating under the name The Museum of Slavonia. This museum is today a national institution due to its artistic diversity and wealth, as well as continuous accumulation of new material and exhibits. Its collection consists of art works made between the 18th and the 21st century, but mainly the 19th and the beginning of the 20th century. The collection consists of art works of many Croatian and foreign artists, including Izidor Jung and it ranges from 19th century portraits (which are predominant) and works depicting sacral themes, landscapes, still lives and mythological themes. All painting techniques are present - oil, watercolor, pastel, tempera, collage, mosaic and stained glass.
Due to visible damage, Jung's painting "Snipe" was brought to OKIRU (Conservation and Restoration Department) in November 2017 and it stayed there until August 2020. The damage which appeared over time was subjected to conservation and restoration procedure resulting in structural stability and the aesthetics of the visual experience.
Photographic documentation of the former condition was made, procedures performed included gluing, cleaning the surface dirt of the front and the back of the painting, canvas straining, reconstructing the base, and finally, retouching and protective layering. All the materials and tools used in the procedure are also listed. The analysis of the materials which was carried out in the laboratory of Conservation and Restoration Department of The Academy of Fine Arts in Zagreb is described in a separate chapter. The state of the painting before the conservation and restoration procedure is described and the photographic and graphic state before, during and after conservation and restoration procedures are documented.
A separate chapter on Binder Research in Fillers Preparation Reconstruction describes preparation compensation trials using chalk with different binders to determine the benefits of working with each of them.
The conclusion presents the challenges that arose in some phases of the work as well as the final results. When the conservation and restoration procedures were completed, the painting received a more representative look in comparison to its prior state. |
