| Abstract | Na Odsjeku za konzerviranje i restauriranje umjetnina Akademije likovnih umjetnosti Sveučilišta u Zagrebu su tijekom 2022. i 2023. godine izvedeni istraživački te potom cjeloviti konzervatorsko restauratorski radovi na mobilnoj grafici u tehnici sitotiska, autora Miroslava Šuteja koja se nalazi u privatnom vlasništvu obitelji Banich . Miroslav Šutej (Duga Resa, 29. 4. 1936 Krapinske Toplice, 13. 5. 2005 ..) je bio hrvatski grafičar i slikar. Kroz svoje stvaralaštvo je za sobom ostavio jedan od najosebujniji h opus u suvremenoj hrvatskoj umjetnosti. Nakon diplome na Akademiji likovnih umjetnosti u Zagrebu 1961. godine je formirao svoj izraz u okviru op arta, a potkraj šezdesetih godina dvadesetog stoljeća pa do sredine sedamdesetih godina izrađivao je pomične, živo obojene plastične objekte u drvu i pomične crteže i grafike sastavljene od dvaju slojeva, statičnoga i pokretnoga, koji su omogućivali stvaranje mnogobrojnih kombinacija. Nakon 1975. pronašao je nov i jak stvaralački poticaj u šarolikosti pučke umjetn osti, osobito seoskoga tkanja i vezenja. Izrađivao je velike ambijentalne instalacije i videoinstalacije. Bavio se grafičkim oblikovanjem, osobito plakata, scenografijom i uređenjem interijera. Mobilna grafika, bez naziva, izrađena je oko 1971. godine u tehnici sitotiska na p a piru l i jepljenom na papirnatu podlogu i potom na lesonit. Kompoziciju umjetnine čini srebrni krug s plavom sjenom koja tvori iluziju kugle. Na rubovima srebrnog kruga su višebojni mobilni krakovi (njih ukupno 16) koji su pričvršćeni za podlog u metalnim spojnicama gdje krakovi pomicanjem mogu činiti puni krug oko mjesta spoja . Papirnati nosi lac kruga sastoji se od tri dijela: donji je tanji, žuto bijeli sloj, u sredini se nalazi debeli sivo smeđi i na vrhu srebrni papir s otiskom rastera točkica plave boje. Mobilni kraci su napravljeni od malo debljeg žuto bijelog papira. Lice i poleđina d jela su bil i prekriven i slojem prašine i prljavštine , ali i oštećenjima uzrokovanim djelovanjem insekata. Uz rubove su nedostajali manji dijelovi papirnatog nosi oca. Boja sitotiska dobro prianja uz nosilac , bila su v idljiva manja oštećenja otiska u vidu ogrebotina i krakelira . Lesonitna podloga zatečena je u dobrom stanju. Na metalnim spo j nicama si bili prisut ni produkt i procesa korozij e Izmjerena je pH vrijednost papirnatog nosioca i FORS analizom su dobivene vrijednosti boja prije i nakon čišćenja kako bi se vidjela degradacija boje . Izrađeni su probni uzorci i na njima su izvedene probe čišćenja, podljepljivanja, ravnanja i retuša. Nakon prikupljenih podataka je usliijedilo suho čišćenje brisaćim sredstvom te dočišćavanje. Podljepljivanje je izvedeno jedilo suho čišćenje brisaćim sredstvom te dočišćavanje. Podljepljivanje je izvedeno celuloznim ljepilom. Pregibi papira su sanirani podljepljivanjemceluloznim ljepilom. Pregibi papira su sanirani podljepljivanjem celuloznim ljepilom i japan celuloznim ljepilom i japan papirompapirom. Rekon. Rekonsstrukcija nedostajućih dijelova papira izvedena je japanskim papirom i celuloznim trukcija nedostajućih dijelova papira izvedena je japanskim papirom i celuloznim ljepilom. ljepilom. Zadnji korak je minimalni retuš suhom pastelomZadnji korak je minimalni retuš suhom pastelom i celuloznim vezivomi celuloznim vezivom. Nedostajući dio . Nedostajući dio lesonitlesonitnene podloge je podloge je rekonstruiran pomoću kitarekonstruiran pomoću kita, obrađen brusnim papirom , obrađen brusnim papirom i retuširan akrilnom i retuširan akrilnom bojombojom. S metalnih . S metalnih spojnicaspojnica je skalpelom uklonjje skalpelom uklonjena hrđa, te su izolirane i lakirane crnom ena hrđa, te su izolirane i lakirane crnom mat bojom. |
| Abstract (english) | At the Department of Conservation and Restoration of Artworks at the Academy of Fine Arts, University of Zagreb, during 2022 and 2023, research and subsequent comprehensive conservation and restoration work were carried out on mobile graphics in the screen printing technique created by the author Miroslav Šutej, which is privately owned by the Banich family Miroslav Šutej (Duga Resa, April 29, 1936 Krapinske Toplice, May 13, 2005) was a Croatian graphic artist and painter. Through his creative work , he left behind the most distinctive op us in contemporary Croatian art. After graduating from the Academy of Fine Arts in Zagreb in 1961, he developed his own expression within the framework of op art . F rom the end of the 1960s until the mid 1970s, he made movable, brightly colored wooden objects and movable drawings and graphics composed of two layers, static and mobile, which enabled the creation of numerous combinations. After 1975, he found a new and strong creative stimulus in a variety of folk art, especially rur al weaving and embroidery. He created large ambient installations and video installations. He was engaged in graphic design, especially posters, scenography and interior design. The mobile graphic, untitled , was created around 1971 using the screen printing technique on paper glued to a paper base and then to hardboard. The composition of the artwork consists of a silver circle with a blue shadow that creates the illusion of a sphere. Along the edges of the silver circle are multi colored mobile arms ( a total of 16 ) that are attached to the base with metal connectors where the arms can be moved to form a full circle around the point of attachment . The paper support of the circle consists of three parts: the bottom is a thinner, yellow white layer, in the middle there is a thick gray brown layer and on top silver paper with a pattern of blue dots . The mobile arms are made of slightly thicker yellow white paper. The face and back of the work were covered with a layer of dust and dirt, as well as damage caused by insects. Small parts of the paper carrier were missing along the edges. The ink of the screen print adheres well to the carrier, with minor damage visible in the form of scratches and cracking The hardboard base was found to be in good condition. Corrosion is present on the metal connectors The pH value of the paper carrier was measured and and FORS analysis provided color values before and after cleaning to assess color degradation . Test samples were made and cleaning, gluing, straightening and retouching tests were performed on them. After collecting information,dry cleaning with cleaning agents was carried out, followed by under gluing with cellulose adhesive. Paper folds were repaired by gluing with cellulose glue and Japanese paper. The reconstruction of the missing parts of the paper was made with Japanese paper and cellulose glue. The final step involved a minimal retouch with dry pastel and cellulose binder. The missing part of the hardboard base was reconstructed using putty, treated with sandpaper and retouched with acrylic paint. Rust was removed from the metal connectors with a scalpel, and they were isolated and coated with black matte paint. |
