| Abstract | Diplomski rad sadrži dokumentaciju konzervatorsko-restauratorskih radova na drvenoj, polikromiranoj i pozlaćenoj skulpturi sv. Ladislava iz crkve Pohoda Blažene Djevice Marije u Gornjem Dragancu s teorijskim dijelom koji obrađuje metode uklanjanja preslika pomoću organskih otapala i gelova. Skulptura sv. Ladislava nalazi se na oltaru Presvetog Trojstva, zajedno sa skulpturom sv. Florijana, u liturgijskoj funkciji. Autorstvo se prepisuje kiparskom majstoru Martinu Mittermayeru iz Ormoža. Skulptura, kao i oltar Presvetog Trojstva, datira u kraj 18. stoljeća. Nakon konzervatorsko-restauratorskih istraživanja utvrđeno je da je izvorni sloja s kraja 18. stoljeća dobro očuvan ispod tri nestručne napravljene repolikromacije napravljene tijekom godina. Pronađene intervencije su: intervencija iz 19. stoljeća, intervencije napravljena krajem 20. stoljeća koja je zapunila i promijenila formu izvornog sloja iz 18. stoljeća, te intervencija napravljena između 1990. godine i 2016. godine postavljena u debelom sloju nepažljivo i neprecizno što je rezultiralo različitim nepravilnostima na površini slikanog sloja. Na skulpturi sv. Ladislava izvedeni su cjeloviti konzervatorsko-restauratorski radovi prilikom čega je vraćen izvorni izgled skulpture i cjelovitost i stabilnost. Radovi su uključivali uklanjanje površinske prljavštine, podljepljivanje, sondiranje, uzorkovanje, konsolidiranje drvenog nosioca, uklanjanje preslika, rekonstrukciju nedostajućih dijelova, nadoknade u svim stratigrafskim slojevima. Provedeni konzervatorsko-restauratorski radovi popraćeni su pisanom, grafičkom i fotografskom dokumentacijom. |
| Abstract (english) | The thesis contains documentation of conservation-restoration work on a wooden, polychrome, and gilded sculpture of St. Ladislaus from the Church of the Visitation of the Blessed Virgin Mary in Gornji Draganec, along with a brief theoretical section on trials of removing overpaint using various organic solvents, gels, and emulsions. The sculpture of St. Ladislaus is situated on the Altar of the Holy Trinity together with the sculpture of St. Florian in a liturgical function. The overall creation is attributed to the sculptor Martin Mittermayer from Ormož. Both the sculpture and the Altar of the Holy Trinity date back to the end of the 18th century. After conservation-restoration research, it was determined that the original layer from the late 18th century was well-preserved beneath two subsequent overpaint layers over time. Inappropriate interventions include an intervention from the late 20th century that filled in and altered the form of the original 18th-century layer, as well as an intervention between 1990 and 2016 applied in a thick layer carelessly and imprecisely, resulting in various irregularities on the painted surface. Conservation-restoration works were conducted on the sculpture, restoring its integrity, stability, halting deterioration, and returning it to the liturgical function in the Church of the Visitation of the Blessed Virgin Mary in Gornji Draganec. The works included removing surface dirt, consolidation, stratigraphic investigation, sampling, consolidating the wooden support, removing overpaint, reconstructing missing parts, infills in the ground layer, retouching, gilding, and silvering. The conservation-restoration works were accompanied by written, graphical, and photographic documentation. |
