| Abstract | Transfer je najinvazivniji postupak konzerviranja-restauriranja zidnih slika. U ovom diplomskom radu opisane su sve etape postupka transfera: od donošenja odluke o izvedbi postupka, preko pripreme zidne slike za odvajanje te odvajanja od izvornog nosača, do obrade te postavljanja zidne slike na novi nosač. Tehnika izvođenja transfera značajno je napredovala u odnosu na svoje početke. Specijaliziraniji materijali i tehnike koji se upotrebljavaju pri ovom postupku od druge polovice 20. stoljeća omogućuju konzervatorima-restauratorima bolju kontrolu postupka te povećavaju izglede za njegovu uspješnu provedbu. U radu su opisani moderni materijali i tehnike, prema redoslijedu etapa postupka transfera. Materijali su podijeljeni prema namjeni i kemijskom sastavu, a njihova je primjena potkrijepljena primjerima iz svjetske prakse u 21. stoljeću. Glavna tema i cilj ovog rada bila je obrada fragmenta zidne slike odvojenog od izvornog nosača te njegovo postavljanje, odnosno vraćanje, zajedno s novim, pokretnim nosačem, na izvorni položaj in situ. Fragment u pitanju dio je zidnog oslika vijenca, datiranog u 16. stoljeće, koji se nekada prostirao duž sviju zidova središnjeg salona prvog kata renesansne kuće Moise u Cresu. Kuća Moise je renesansna palazetta creskog plemstva koja je kroz godine doživjela mnoge pregradnje i preinake. U sklopu brojnih adaptacija kuće, njen je interijer mnogo puta mijenjan te ukrašavan zidnim oslicima iz različitih razdoblja čiji se tragovi i danas u njoj nalaze. Prilikom temeljite adaptacije kuće Moise, koja je započela 2010. godine s ciljem prenamjene u Sveučilišni istraživački centar i regionalni centar za cjeloživotno učenje, 2016. godine ustanovljen je problem statičke nestabilnosti južnog dijela zapadnog zida na prvom katu kuće, na kojem se, u njegovoj gornjoj zoni, prostirao vrijedan renesansni oslik vijenca. Nestabilan zid na kojem se nalazio oslik predodređen je za rušenje, što je uvjetovalo potrebu za odvajanjem spomenutog fragmenta. Fragment oslika vijenca odvojen je od izvornog nosača u tri dijela te predan na daljnju obradu diplomanticama Odsjeka za konzerviranje i restauriranje umjetnina Akademije likovnih umjetnosti u Zagrebu, Ivani Dragozet i autorici ovog rada. Obrada triju dijelova odvojenog fragmenta zidnog oslika sastojala se od obrade žbuke na poleđini, uklanjanja privremenog nosača, nanošenja backinga, ponovnog spajanja u cjeloviti fragment te postavljanja cjelovitog fragmenta na prijenosni nosač. U okviru diplomskoga rada, tako obrađen fragment postavljen je na svoj izvorni položaj u kući Moise. S lica fragmenta potom je uklonjen facing, izrađene su žbukane nadoknade u sloju intonaca te prijedlog za buduću izvedbu nadoknada u slikanom sloju. Prije spomenutih zahvata napravljene su probe određenih postupaka uporabom odabranih materijala te su simulirane glavne etape obrade. Sve navedene etape izvršene su te je fragment zidne slike uspješno vraćen na svoj izvorni položaj u kući Moise. U budućnosti se planira povezati oslik fragmenta s ostatkom oslika vijenca očuvanog na zidovima nekadašnjeg središnjeg salona. To će se postići djelomičnom rekonstrukcijom geometrijskih elemenata (obrisa iluzionistički slikanih profilacija) između odvojenog fragmenta na južnom i ostatka oslika na sjevernom dijelu zapadnog zida. |
| Abstract (english) | Transfer of wall paintings is the most invasive procedure in the conservation of wall paintings. In this diploma thesis, the stages of the process of transfer are described: starting from the decision of inevitability of detachment of a wall painting, trough the stages of its preparation for detachment, followed by the detachment itself. Furthermore, post-detachment operations, which lead to mounting of the detached painting onto a new support are described, as well as the final presentation. Transfer techniques have developed significantly throughout the history. Specialised materials and techniques that have been implemented in this procedure since the second half od the 20th century, allow better control and increase the probability of a successful treatment. In this thesis, modern materials and techniques are described in order and based on the way they are used in certain stages of the procedure. The materials mentioned are arranged by their purpose and chemical composition. Examples of their use are presented in the descriptions of the specific cases of transfer of wall paintings conducted in the 21th century. The focus of this thesis was the procedure of re-mounting of a detached wall painting fragment. The conservation work consisted of treatments which allowed mounting of the detached fragment on a movable support and finally on a newly built wall. The fragment in question is a part of the 16th century painted frieze decoration situated in the central salon on the first floor of the renaissance palace Moise on the island of Cres. Moise palace is a renaissance patrician residence, so called palazzetta, which has undergone many changes in terms of architectural renovation throughout the history. Its interior walls are decorated with various chronological layers of wall paintings, reminiscent of those adaptations. The Moise palace was in poor state of conservation and it was decided that it would be renovated and repurposed in a University research centre and lifelong learning regional centre. The extremely complex project started in the year 2010. In the year 2016 problems with static stability of the wall carrying the wall painting fragment were discovered. The supporting wall had to be demolished and replaced by a new one, which meant that the wall painting it carries needed to be quickly detached in order to be preserved. The painting was divided into 3 smaller sections, detached from its original support and was then given for further conservation treatments to two graduate students of the Department for Conservation and Restoration of Works of Art (Academy of Fine Arts, University of Zagreb) - Ivana Dragozet and the author of this thesis. Conservation work on the three sections of the wall painting fragment consisted firstly of thinning of the plaster on the backside of sections, removal of the temporary support and application of backing. Secondly, the three sections were re-connected into the whole, the connected fragment was mounted on a movable support, transported and re-mounted in its original position on a newly built wall in the Moise palace. Upon re-mounting, the facing was removed from the surface of the wall painting and inadequate plaster fillings were replaced. Finally, the conservation work was concluded with propositions for the final presentation i.e. reintegration of the missing paint layer. For this purpose a few test areas were made. The conservation project was carried out successfully. The re-mounted wall painting fragment is yet to be connected to the rest of the painted frieze via geometrical reconstruction of the missing parts of the paint layer. |
