| Abstract | U suglasnosti sa mentoricom red. prof. mr. art. Tamarom Ukrainčik i prof. Gordanom Remussini, kustosicom Samoborskog muzeja, za praktični dio diplomskog rada odabrana je slika s prikazom sv. Lucije, nepoznatog autora, iz fundusa Samoborskog muzeja. Prema prethodnom dogovoru, konzervatorsko-restauratorski radovi nisu obuhvatili radove na ukrasnom okviru, jer on i nije izvoran, već je naknadno postavljen na sliku. Pri preuzimanju slike, a nakon provedene fotografske dokumentacije zatečenog stanja in situ, pristupilo se postupku privremenog konsolidiranja slikanog sloja i sloja osnove. Pretpostavka je, da se zbog neadekvatnog napinjanja platna ono izdeformiralo, te su nabori koji su zbog toga nastali, rezultirali odvajanjem osnove, zajedno sa slikanim slojem. Ta oštećenja je bilo potrebno sanirati kako bi se moglo krenuti sa daljnim radovima. U poglavlju Povijesno–umjetnički pregled ukratko je obrađeno razdoblje u kojem je slika nastala. Obzirom da nije pronađeno puno podataka o povijesti slike, pokušalo se zaključiti gdje se slika nalazila prije nego je stigla u muzej, te da li je bila slikana pod utjecajem nekog od poznatijih autora koji su u 18. stoljeću djelovali na području Samobora. Sami proces uklanjanja požutjelog laka i preslika bio je težak i dugotrajan te su stoga u poglavlju Teorijski dio obrađeni lakovi na bazi prirodnih smola, u svrhu boljeg razumijevanja problematike njihova uklanjanja. Nakon uklanjanja laka i preslika, te izvedenih konzervatorsko-restauratorskih radova u sloju nosioca (platna) i osnove, te ravnanja na toplinskom stolu, na sliku je nanesen prvi sloj laka - mastiks. Izabran je sukladno provedenim konzervatorsko-restauratorskim istraživanjima, te stoga i uvažavanju korištenja istih ili sličnih materijala onim izvornima. Prije retuša, nanesen je drugi sloj laka, ovaj put Laropal A81, iz više razloga; smola laka istovjetna je vezivu Gamblin restauratorskih boja, lak ima odlične karakteristike glede starenja i žućenja te dobro zasićuje boju a izgledom odgovara prirodnim smolama. Za maksimalno zasićenje, u trećem, posljednjem, sloju je položen lak Regalrez 1094, koji se ni sušenjem niti starenjem ne mijenja, a topi se i u „blagim“ otapalima. Izvedeni radovi na slici popraćeni su temeljitom pisanom, grafičkom i fotografskom dokumentacijom, a slika će nakon radova biti vraćena vlasniku. |
| Abstract (english) | As agreed with mentor red. prof. mr. art. Tamara Ukrainčik and prof. Gordana Remussini, curator of the Samobor Museum, for the practical part of the diploma work, mas selected a painting, depicting St. Lucy by an unknown author, from the holdings of the Samobor Museum. According to the previous agreement, the conservation and restoration works did not include works on the decorative frame, since it is not original, but was subsequently placed on the painting, in the museum. Upon receipt of the image, and after carrying out the photographic documentation in situ, the process of temporary consolidation of the painted layer and the base layer was initiated. The assumption is that due to inadequate stretching of the canvas, it deformed, and the resulting creases resulted in the separation of the ground layer together with the painted layer. These damages had to be repaired in order to access further work. The chapter, Historical and Artistic Review, briefly covers the period in which the painting was created. Since not much information was found about the history of the painting, an attempt was made to find out where the painting was before it arrived at the museum, but also whether it was painted under the influence of one of the more famous authors who operated in the area of Samobor in the eighteenth century. The process of removing the yellowish varnish and overpaints was difficult and time-consuming. Because of that, varnishes based on natural resins were explained in the chapter Theoretic part, in order to better understand the problem of their removal. After removing of the varnish and overpaints, as well as the performing conservation and restoration works in the layer of the canvas and the ground layer, and also leveling on the heat table, the first coat of varnish – mastic was applied to the painting. It was selected in accordance with the conducted conservation and restoration research, and therefore with respect to the use of the same or similar materials to the original ones. Before retouching, another coat of varnish was applied, this time Laropal A81, for a number of reasons; the resin is the same as the Gamblin restorative paints binder, the varnish has excellent aging and yellowing properties and is well saturated in color with natural resins in appearance. For maximum saturation, a varnish Regalrez 1094 is laid in the third, last layer. Regalrez 1094 does not change with drying or aging, and melts even in "mild" solvents. The works performed on the painting are accompanied by thorough written, graphic and photographic documentation, and the painting will be returned to the owner after the works. |
