| Sažetak | U ovom diplomskom radu opisani su konzervatorsko-restauratorski postupci na slici "Navještenje", nepoznatog autora iz Muzeja franjevaĉkog samostana sv. Roka u Virovitici. Slika "Navještenje" je jedna od pet slika iz spomenutog muzeja, na kojima se na Odsjeku za konzerviranje i restauriranje umjetnina ALU Sveučilišta u Zagrebu u kontinuitetu od 2015. godine provode konzervatorsko-restauratorski radovi, uz podršku Ministarstva kulture. Nakon detaljnog pregleda slike, ustanovljeno je da je slika preslikana, što je potvrđeno i nedestruktivnom metodom rendgenske radiografije. Učinjena je i stratigrafska analiza poprečnog presjeka uzorka slojeva slike, te je definitivno utvrđeno da se radi o presliku. U dogovoru s gđom Marinom Bender Maringer, višom savjetnicom Konzervatorskog odjela u Požegi, pristupilo se uklanjanju preslika. Skidanje preslika otkrilo je mnoga nova oštećenja koja prije nisu bila vidljiva, jer su bila skrivena prethodnim intervencijama. Stare nadoknade u sloju osnove i zakrpe su uklonjene, a poleđina slike je očišćena. Izvedene su nadoknade u sloju nosioca, djelom s novim lanenim platnom sitnije granulacije od originalnog platna te s dijelovima druge slike koja je bila zalijepljena na poleđini platna i imala funkciju zakrpi. Platno s te slike s poleđine iste je granulacije, boje i teksture kao i originalno platno, a ta slika je vjerojatno nastala u vrijeme nastanka slike "Navještenje". Oštećenja u sloju osnove zakitana su djelomiĉno kredno-tutkalnim kitom, a nakon dubliranja na tako pripremljenu podlogu mjestimice je dodatno nanesen sloj tutkalnog kita sa staklenim kuglicama u kojeg je otisnut silikonski otisak, koji je uzet s mjesta izvorne površine lica slike. Dubliranje je bilo neophodno, jer je slika osim mnogih proširenih oštećenja u sloju nosioca imala naznake novih oštećenja. Na platno je prilikom prijašnjih intervencija pomoću veće količine tutkala zalijepljeno mnogo zakrpa, pa je ono na tim mjestima postalo tvrdo, krto i krhko. Dubliranje je izvedeno Bevom 371 u medicinskom benzinu 1:2, s dva sloja novog platna, zbog središnjeg šava na slici. Prvim slojem platna cijela površina je dovedena u razinu sa šavom, a drugi sloj platna je zatim stavljen preko cijele poleđine. Nakon dubliranja i kitanja, zakitana mjesta su tonirana gvaš bojom u približan ton onome izvorne osnove. Cijela slika je prelakirana slojem laka Laropal A-81, koji je ujednačeno intenzivirao izgled površine slike. Retuš je zatim izveden Gamblin restauratorskim bojama (pigmentom koji je vezan Laropal A-81 smolom). Završni zaštitni sloja laka je Regalrez 1094. Rad na pripadajućem ukrasnom okviru slike nije dio ovog diplomskog rada.1 Konzervatorsko-restauratorski radovi na ovoj slici popraćeni su pisanom, grafičkom, fotodokumentacijom te rezultatima analiza koje su pratile faze rada. Nakon završetka radova, slika će zajedno s ukrasnim okvirom biti vraćena vlasniku. |
| Sažetak (engleski) | In this master thesis are described the conservation and restauration procedure on painting Navještenje of an unknown author. The painting was displayed in Museum of francisian monastery from Saint Rok in Virovitica. Since 2015 with the help of Ministry of culture, conseravtion and restauration works are being carried out on the painting Navještenje which is one of five artworks from the mentioned monastery that is currently in the Department of conservation and restauration of artwork ALU University in Zagreb. After detailed review it has been established that the painting has been overpainted. This was confirmed with non destructive methods using X-ray scaning. Our suspicions that it was overpainted were also proved by analyzing microsamples with microscope. Removal of the overpainted layer was done in agreement with high counselour Mrs. Marina Bender-Maringer from Conservation department in Poţega. Removing the overpainted layer has revealed many more damaged areas which were hidden under previous interventions. Old interventions in the ground layer and the patches have been removed and the surface of the canvas back was cleaned. The canvas layer was mended, partly with a new finer linen, and partly with the parts of the canvas that was glued to the back of the canvas. The canvas from these parts has the same size of threads, color and texture as the original canvas, possibly from some painting that was made in the same period as the Navještenje. The reconstruction of the preparatory layer were done with mixture of chalk and animal glue, and after lining, a layer of chalk, animal glue and glass microspheres was applied. The texsture of the new preparatory layer was achieved with silicone moldings. Lining was necessary because the image besides many extended damage in the support layer had indications of new damage. On the canvas, during the previous interventions the original canvas was mended with patches that were glued with a lot of animal glue. That parts of the canvas became hard, fragile and cracked. Lining was done with Beva 371 in Medical petrol 1: 2, with two layers of new canvas because of the thick seam in the middle. With the first layer of canvas the whole surface was brought to the level with the seam, and the second layer of canvas was applied over the whole back of the painting. After lining and filling, the fillers were colored with the color that match the original ground. The entire painting was varnished with a Laropal A-81, which uniformly intensified the surface of the surface. Retouch was then carried out with Gamblin conservation colors (pigment bounded with Laropal A-81 resin). The work on the decorative frame of the painting is not a part of this master thesis.2 Conservation and restoration works on this painting were accompanied by written, graphic documentation, photodocumentation and the results of the analyzes that followed the work. After completion of the work, the the painting will be returned to the owner together with the decorative frame. |
