Međunarodna konferencija studija konzervacije-restauracije

Photo archive Nenad Gattin

Author: Lucija Habuš
Mentors: Višnja Bralić, Professor; Irena Šimić, MA, art. hist.

Institution: Faculty of Humanities and Social Sciences, Zagreb (Croatia)
Study programme: Art history Study, 5th year of study
Specialization: Heritage conservation

Abstract
The Photoarchive of Nenad Gattin is today based in the Institute of Art History in Zagreb. It has been in the Croatian cultural heritage register since 1991. The presentation will be about the preservation and conservation of photography and photo-negatives, Nenad Gattin, his work and his importance in the heritage conservation.

Opširnije:Photo archive Nenad Gattin

Digital Art – the challenges and preservation strategies, interview with virtual reality artists: Strategy accompanying the acquisition of VR experience

Author: Paulina Staszkiewicz
Mentor: Iwona Szmelter, PhD, Full Professor

Institution: Academy of Fine Arts in Warsaw, Faculty of Conservation and Restoration of Works of Art (Poland)
Study programme: Conservation and Restoration of Works of Art, Uniform twelve-semester Master’s programme, 5th year of study
Specialization: Conservation-restoration of paintings and polychrome sculpture

Abstract
Digital works of art can mostly be characterized as allographic, they might exist in a virtual space in many copies and are more easily accessible to the recipient by collecting them in virtual museums and databases. At first glance, they seem to be easier to preserve for future generations - they lack material bodies that would be exposed to standard factors that damage the autographic body of the work, such as incorrect maintenance, mechanical damage, unfavorable environmental factors etc. However, this impression is misleading, because the danger that affects digital works of art is technological acceleration causing rapid obsolescence of media, incompatibility of hardware, software and peripheral devices. So how should one preserve a digital work of art? Different strategies and case studies are being discussed, including storage, migration, emulation, reinterpretation and documentation.
In order to better understand the challenges of digital art preservation, virtual reality artists Przemysław Danowski and Jakub Wróblewski were interviewed. Strategy accompanying the acquisition of VR experience was established in a form of an interview. It documented artists' technique and creative process of making the artworks Bardo and Lovestory; importance of the VR medium, relation between artists intention and VR technology, their attitude to future conservation treatments and aquisition of the artworks.

Opširnije:Digital Art – the challenges and preservation strategies, interview with virtual reality artists:...

The painting conservator, a participant during the artistic process

Author: Guillemette Caupin
Mentors: Noémie Etienne, Professor; Thierry Lalot, Professor

Institution: Paris 1, Panthéon-La Sorbonne (France)
Study programme: Ecole Doctorale ED 441 study programme, 3rd year of study
Specialization: Art history, History of Painting Conservation

Abstract
Preventive Conservation, Curative Conservation and Restoration are established fields of actions for a painting conservator. Active Conservation designates a fourth field where the conservator works on recent productions and intervenes alongside the artistic process (before, during or within a few years of completion of an artwork).
The concurrency of creation and conservation requires collaboration between conservators and Art World figures. While the conservator’s interventions are often requested directly by the artist, they can also be done at the demand of other figures of the Art market (art dealer, art suppliers, etc.). Beside engaging restorers for their private collection, artists can be found collaborating with painting conservators on their personal production. Restoration and invoice records mentioning conservation techniques on artworks in the making witness this Active Conservation work. In this context, the creation of a painting is a collective activity in which the painting conservator acts as an active participant to the creation – as a consultant or as a technician – sometimes essential to the mise-en-oeuvre (implementation) and the stability of a painting.

Opširnije:The painting conservator, a participant during the artistic process

Historical and industrial paints under synchrotron light

Author: Ida Fazlić
Mentors: Marine Cotte, Dr., Local Supervisor; Katrien Keune, Associate Professor; Bas de Bruin, Professor; Jitte Flapper, Dr., Industrial Supervisor

Institutions: European Synchrotron Radiation Facility, Rijksmuseum, University of Amsterdam and AkzoNobel
Study programme: Analytical chemistry on micro-imaging of industrial and historical paints: Funded by the H2020 Marie Sklodowska-Curie COFUND programme “InnovaXN” (#847439), 1st year of study
Specialization: Theoretical, physical and analytical chemistry

Abstract
The project aims at researching the short-term and long-term drying reactions of historical and industrial paints, mainly relying on the use of metallic driers. A deeper understanding of the (mis-) use of driers through history up to date, as well as their effect on stability and aesthetic of painted objects will be offered. Interactions of inorganic and organic in historical and industrial paintings and coatings are being monitored by the use of synchrotron based and laboratory micro-imaging techniques (μXRF, μXAS, μXRD and μFTIR) available at the ESRF as a host facility. Observations of the formation, spatial distribution in 2D (in depth and in plane) and stability of metallic driers and of secondary crystallized compounds in historical and in model paints will offer to Rijksmuseum as a partner and to the global community of conservators, a valuable insight into the conservation issues of painted works of art. Similarly, AkzoNobel as an industrial collaborator, will be guided towards the development of products with a better health and safety profile and improved performance.

Opširnije:Historical and industrial paints under synchrotron light

16. MEĐUNARODNA KONFERENCIJA STUDIJA KONZERVACIJE-RESTAURACIJE, DUBROVNIK 2019.

Traditional and Modern Techniques of Copying Oil Paintings

Author: Anastasiia Berezina
Mentor: Anna Kornilova, PhD, Professor

Saint-Petersburg Stieglitz State Academy of Art and Design, (Russia)
Study programme: Theory and history of architecture, restoration and reconstruction of historical-architectural heritage
Specialization: Restoration of oil paintings (3rd year of study (post-graduate)

Making a copy of a painting from a museum is a difficult task, but creating a reproduction of a masterpiece that no longer exists is an entirely different issue. The author uses her first-hand experience taking "Flora" by Francesco Melzi from the collection of the State Hermitage Museum in Saint-Petersburg to demonstrate a traditional method of making a copy from the original. For the modern approach, the stolen Oratory of San Lorenzo in Palermo and then disappeared Caravaggio's "Nativity with Saint Lawrence and Saint Francis of Assisi" is taken as an example. It is a re-creation made by Factum Foundation, whose purpose is to construct a bridge between new digital technology and craft skills.

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Short biography

ANASTASIIA BEREZINA is practicing painter-restorer working in Saint-Petersburg Stieglitz State Academy of Art and Design as a professor and in the private workshop of A. Osetrov. She is a Master of Restoration, with specialization in oil paintings. Anastasiia studied for six months in France. She took part in several big restoration projects in Saint-Petersburg and Moscow.

The Influence of Gamma Radiation on the Binders in Paint Layers

Author: Valentina Meštrić
Mentors: Domagoj Šatović; PhD, Professor, Vladan Desnica; PhD, Professor; Katarina Marušić, PhD, Associate from The Ruđer Bošković Institute

Department for Conservation and Restoration of Works of Art, Academy of Fine Arts, University of Zagreb (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration
Specialization: Paintings (5th year of study)

Abstract
Many objects of cultural heritage are exposed to radiation to stamp out the unwanted microorganisms that are present on them. Although it was initially considered that the radiation of painted objects was completely harmless and without any adverse effects on the object itself, later changes in the colour of pigments were noticed, some of them being bedimmed, some illuminated, etc. This paper deals with a specific area of the influence of gamma radiation on binders in paint layers, as only few articles have been published on this subject so far.
Seven different binders used throughout the history of painting were chosen and prepared. The binders were applied on polyethylene substrates (radiation-resistant) and radiated with five different doses; first in the centre and then away from the centre. After irradiation, colour changes of each of the binders were measured using a CIE Lab colorimeter.

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Short biography

VALENTINA MEŠTRIĆ was born in Varaždin on August 16, 1994. After graduating from Prva Gimnazija Varaždin in 2013, she enrolled at the Academy of Fine Arts in Zagreb, in the Department of Conservation and Restoration of Works of Art. For the fourth year in a row, she is among the 10% of the most successful students at the Academy and is currently working on her final thesis in co-operation with the Ruđer Bošković Institute. In her leisure time, she is engaged in solo singing, CrossFit, and fencing.

Aesthetic Presentation of the Overpainted Baroque Painting of the Mater Dolorosa by Marko Layer

Author: Ana Sterle
Mentor: Lucija Močnik Ramovš, MA, Associate Professor

Department of Conservation and Restoration of Works of Art, Academy of Fine Arts and Design, University of Ljubljana (Slovenia)
Study programme: First-Cycle Bachelor's Programme of Study in Conservation and Restoration of Works of Art
Specialization: Easel paintings (3rd year of study)

Abstract
The baroque painting of Mother Dolorosa by Marko Layer has undergone two conservation-restoration procedures. With scientific analysis, overpaint was found, hiding a sword and different coloured drapery. The original and overpainted paint layers were of the same chemical composition – egg tempera. Different approaches of removing the overpaint were tested in past treatments of the painting. Effective methods would do more harm than good to the original paint layer. We made a compromise and used the mechanical cleaning method. The end result had a lot of imperfections in the paint layer due to the poor condition of the painting in the first place, and due to the removing procedure of overpaint itself. Before the reintegration process, a graphical image of the retouching and its options was made. The reintegration process consisted of different methods chosen according to the type of damage. The conservation-restoration procedure was finished in such a way that conservators-restorers can continue research on the painting.

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Short biography

ANA STERLE was born in Ljubljana, on 11th of October, 1996. As a child she participated in art workshops led by artist Peter Ciuha. She finished the School of Economics in Ljubljana, where she also exhibited her artworks. Throughout primary and secondary education, she participated in other hobbies; choir and solo singing, business workshops led by Matija Goljar and air rifle shooting, where she ranked second in the 2007 National Championship. She is now a third-year student of Conservation and Restoration at Art at the Academy of Fine Arts and Design in Ljubljana, currently studying at Escuela Superior de Arte del Principado de Asturias in Spain.

Uncovering the History of a Polychrome Wooden Reliquary from the National Gallery of Slovenia: An Interdisciplinary Approach

Author: Erica Sartori
Mentors: Miladi Makuc Semion, Associate Professor, Martina Vuga, MA, Teaching Assistant

Department of Conservation and Restoration of Works of Art, Academy of Fine Arts and Design, University of Ljubljana (Slovenia)
Study programme: Second-Cycle Master's Study Programme Conservation and Restoration of Works of Art
Specialization: Paintings and Polychrome Sculpture (1st year of study)

This article aims to underline the importance of using an interdisciplinary approach while researching the historical background of the object before conservation-restoration, and how these discoveries can influence the decision-making process and the significance of the artwork overall. The significance of this approach is explained through the case of a late gothic reliquary bust belonging to the collection of the National Gallery of Slovenia. The artwork underwent a long process of research and conservation-restoration, during which plenty of data was collected about its past history, its material composition and its technology; of remarkable value was the discovery of a particular decorative technique known as applied brocade, which had never before been studied in Slovenia. The combination of archival data, physical observation and data collected from scientific analyses helped to uncover a surprisingly rich and interesting history which had an impact on the decision-making process, especially on the aesthetic presentation and graphic reconstruction of the area decorated with applied brocade, and gave new meaning and value to the artwork.

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Short biography

Born in Trieste in 1994, ERICA SARTORI is a postgraduate student specializing in polychrome wooden sculpture conservation at the Academy of Fine Arts and Design of the University of Ljubljana. She has been an intern at the conservation department of the National Gallery of Slovenia and at the Royal Institute for Cultural Heritage in Brussels, Belgium. In the academic year of 2017/2018 she has received the Prešeren Award for students of the Academy of Fine Arts and Design in Ljubljana for her BA thesis on the decorative technique known as "applied brocade".

Modifying of a Display Mannequins for Ethnographic Costumes

Author: Sara Vladić and Arin Zakinja
Mentor: Danijela Jemo, PhD, Assistant Professor

Art and Restoration Department , University of Dubrovnik (Croatia)
Study programme: Second-Cycle Master's Programme of Study in Conservation-Restoration and First-Cycle Bachelor's Programme of Study in Conservation-Restoration
Specialization: Textile (1st year of study, 2nd year of study)

Abstract
Display in museums can be quite challenging, especially when it comes to three-dimensional textile objects. Display of costumes can be problematic because the mannequins must fit perfectly so they don´t cause new damage to the objects. We can achieve that by carefully adjusting them. That was done with three mannequins for three ethnographic costumes from the Ethnographic Museum of Dubrovnik Museums. All three mannequins were successfully adjusted on an educational workshop that took place on the University of Dubrovnik. The workshop was organized in collaboration with Croatian Conservation Institute and Ethnographic Museum of Dubrovnik Museums in October 2018.

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Short biography

SARA VLADIĆ was born in Zagreb on June 2nd 1996. She graduated from the School of Applied Art and Design in Zagreb, in the Department of Interior Design. She finished Undergraduate Study of Conservation and Restoration on the University of Dubrovnik in 2018. Now she attends 1st year at the University of Dubrovnik in the Art and Restoration Department, Graduate Study of Conservation and Restoration, Textile conservation specialization.

ARIN ZAKINJA was born in Pula, October 6th 1997. She graduated the School of Applied Art and Design in Pula and now attends 2nd year at the University of Dubrovnik, in the Art and Restoration Department, Undergraduate Study of Conservation and Restoration (wood, paper, textile, metal and ceramics), Textile conservation specialization.

Conservation – Restoration Treatments on Drawing

Authors: Karmen Đanić and Valnea Gjivić
Mentor: Sanja Serhatlić, Assistant Professor

Art and Restoration Department, University of Dubrovnik (Croatia)
Study programme: Second-Cycle Master's Programme of Study in Conservation-Restoration
Specialization: Paper (2nd year of study)

Abstract
The theme of this presentation is the complete conservation- restoration procedure carried out on a drawing of our local artist Mato Celestin Medović. The drawing technique is pastel. The paper was in a very bad condition, visibly dried, full of cracks, dirt and broken/ missing parts. The paper was glued to the linen canvas that is tangled to the old damaged wooden subframe. The canvas had changed its colour and was covered with stains and dirt. Proposition of works carried out on the object were: colour observation with Dino - lite microscope, analysis with different kinds of rubbers – using Dino – lite microscope, measurement of pH, measurement of paper thickness, determination the origin of glue and paper, detachment of paper from wooden subframe and linen canvas, mechanical removal of impurities, object moistening in the chamber, object doubling, consolidation of missing parts, retouching with pastel, making protective folder, and storage conditions.

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Short biography

KARMEN ĐANIĆ was born on 8th of August, 1994 in Dubrovnik. She finished comprehensive high school in Dubrovnik.
VALNEA GJIVIĆ was born on 27th of May, 1995 in Dubrovnik. She finished "Luka Sorkočević" art school of Dubrovnik.
In 2017, they graduated with a Bachelor's Degree in Conservation and Restoration of Paper at the University of Dubrovnik. They are currently on their 2nd year of the Master's Programme of Conservation and Restoration of Paper.

Conservation of Bronze Structural Decorated Elements from Ancient Roman Chariot from the Collection of the National Museum in Belgrade

Author: Katarina Milosavljević
Mentors: Mina Jović, Assistant Professor, Milan Čolović and Miroslav Petelin, Associates from the National Museum in Belgrade

Department of Conservation and restoration, Faculty of Applied Arts, University of Arts in Belgrade (Serbia)
Study programme: Conservation and restoration of sculptures and archaeological objects
Specialization: Sculptures and Archaeological Artefacts (graduated in 2017/2018)

Abstract
The main subject of the presentation is the conservation of bronze structural decorated elements from ancient Roman chariot from the collection of the National Museum in Belgrade which has total of 86 bronze appliques of various sizes and shapes. The presentation will only show the most representative appliques. The work was performed as part of the master thesis in 2017/2018. No conservation treatments have been carried out so far on the appliques, which makes this work characteristic because the treatment could be carried out by non-destructive conservation methods. Appliques contain missing parts, fragmentation, surface deposits in the form of impurities, soil deposits, various forms of corrosion and chloride deposits. Bronzed appliques were subjected to macroscopic and microscopic analyses as well as X-ray fluorescence spectroscopy - XRF; which established the composition of the copper alloys, from which they were made as well as the recording of objects under the X-ray radiation. The photo documentation was done together with detailed descriptions in which objects were found.

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Short biography

KATARINA MILOSAVLJEVIĆ was born on 19th of September 1994 in Belgrade. She finished Design School in Belgrade, after which she enrolled at the Faculty of Applied Arts in Belgrade at the Department of Conservation and Restoration of Sculptures and Archaeological Objects. She graduated in 2017 and started master studies at the same department. She graduated in 2018. During her studies she worked on artefacts belonging to the collections of the National Museum in Belgrade, made of different materials such as metal, stone, ceramics, plaster and polyester. Currently, she is a full-time intern at the National Museum and first-year student of doctoral studies.

Conservation of an Early Iron Age Vessel with Tin Foil Decoration from Strettweg, Styria

Author: Paul Schubert
Mentors: Gabriela Krist, PhD, Associate Professor; Eva Lenhart MA, Assistant Professor; Anne Biber, MA, Assistant Professor; Gergana Almstädter, MA

Institute of Conservation and Restoration, University of Applied Arts, Vienna
Study programme: Conservation and Restoration
Specialization: Archaeological Objects (3rd year of study)

Abstract
During the course of a 2012 excavation in Strettweg, Styria, pottery shards with tin foil decoration were discovered. The shards belonged to a ceramic vessel and can be dated to around 700 B.C - the early Iron Age or Hallstatt Era. The ornamental decor with tin foil is especially rare and can be found only on a handful of other objects. The aim of the conservation was to bring the object into a state in which it can be exhibited. At the Institute of Conservation, the shards were examined technologically, cleaned and the degraded tin foil were consolidated. The emphasis of the presentation is put on the on-going practical work of joining shards and gap-filling. Due to the size of the object as well as the problematically large gaps in the vessel, one focus of the practical work was the selection of an appropriate bonding method. This concerns not only the adhesive but also the technique of holding large shard-fragments in the optimal position. Filling of the large gaps will complete the conservation process. In future exhibitions, the vessel will represent the other tin foil ceramics from that particular excavation.

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Short biography

PAUL SCHUBERT was born in Vienna in 1995 and graduated from high-school in 2014. In October 2016, he started his studies of Conservation and Restoration at the University of Applied Arts Vienna, where he is scheduled to graduate in 2021. During the past three years, he worked on several projects, for example, on the consolidation of a baroque stucco ceiling in Lilienfeld, Lower Austria, as an assistant of an archaeological restorer at an excavation in Styria, and on a Conservation campaign which focused on the conservation of wooden objects in Innsbruck, Tyrol. In the current semester, he is doing an internship in the prehistoric department of the Natural History Museum in Vienna.

Methods for Determining Chloride Concentrations in Solutions

Authors: Darko Markunović and Ante Šimunović
Mentor: Marta Kotlar, MA, Teaching Assistant

Art and Restoration Department, University of Dubrovnik (Croatia)
Study programme: Second-Cycle Master's Programme of Study in Conservation-Restoration Specialization: Metal (2nd year of study)

Abstract
The main theme of the presentation will be different quantitative and qualitative methods for determining chlorides in solutions. The whole point of describing these is to determine how precise some of these methods, considering their subjective approach, are.

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Short biography

ANTE ŠIMUNOVIĆ was born on 29th of June 1993. He finished high school at Gimnazija Benedikta Kotruljevića. In 2018, he gained a Univ. Bacc. Degree.
DARKO MARKUNOVIĆ was born in Dubrovnik on 21st of May, 1981, where he finished primary school and classical grammar school.
Ante and Darko are currently on the 2nd year of graduate studies at the University of Dubrovnik, studying Restoration and Conservation at the Department for Metal.

ISA Student Practice in Orlamünde

Author: Andrea Šafran
Mentor: Alen Novoselec, Associate Professor

Department for Conservation and Restoration of Works of Art, Academy of Fine Arts, University of Zagreb (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration Specialization: Sculptures (4th year of study)

A program for conservation and restoration students in 1-2 month period under ISA program led by a private company for conservation and restoration of stone and architecture took place in 2018, in Orlamünde, Germany. The students worked on conservation and restoring baroque gravestones for 1 month under supervision. The program also had theoretical education incorporated as well as field trips to Buttstädt, Pollinzela Monastery and a science laboratory in Jena.

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Short biography

ANDREA ŠAFRAN was born on October 21st, 1995 in Zagreb, Croatia. She studied at the School of Applied Arts and Design in Zagreb in the Department of Interior Design. She is currently in her 4th year of studies at the Academy of Fine arts in Zagreb.

Transposition of Portable Wall Painting from the Fund of Studenica Monastery

Author: Magdalena Drobnjaković
Mentor: Radomir Samardzić, MA Professor

Department of Conservation and restoration, Faculty of Applied Arts, University of Arts in Belgrade (Serbia)
Conservation and Restoration
Specialization: Paintings (5th year of study)

Abstract
In 19th century, the wall paintings in the Church of Virgin Mary in Studenica were painted over. As they did not satisfy the artistic and aesthetic qualities and did not coincide with the interior of the church, these new wall paintings were removed in 1951 by the experts from the Republic Institute for the Protection of Cultural Heritage from Belgrade. Many of these wall paintings were fragmented and instilled in plaster. The team of students from the Faculty of Applied Arts in Belgrade performed complete conservation, restoration and presentation of one of these fragments. Transposition of this fragment consisted of many complex procedures, tests and analysis. The process included the removal of inadequate plaster support, conservation and restoration on newly revealed parts, finding a compatible adhesive, new support and frame. By researching previous similar works and their experience with new materials and supports, lime mortar was chosen as an adhesive while extruded polystyrene was used as a support. Using reliable and tested materials at all stages of the process, wall painting was provided stability, so the possibility of damage due to many external factors was reduced. After the fragment was completely preserved and restored it was returned to the Studenica Monastery.

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Short biography

MAGDALENA DROBNJAKOVIĆ studied conservation and restoration at Faculty of Applied arts in Belgrade, Department of Conservation and restoration of paintings where she achieved MA degree. She took part in several group exhibitions, both local and international, was a part of a team working on conservation and restoration of wall paintings in Studenica Monastery and mosaics on the archaeological site Justiniana Prima. Currently she is working as an intern in The National Museum of Serbia.

Practical Experience Example of Conservation-Restoration Treatment Proposal, Offer and Cost Estimate

Author: Ira Fabrio
Mentors: Jelena Tomasović Grbić, MA, Expert Associate; Marta Kotlar, MA, Teaching Assistant

Art and Restoration Department, University of Dubrovnik (Croatia)
Study programme: First-Cycle Bachelor's Programme of Study in Conservation-Restoration
Specialization: Metal (3rd year of study)

Because of the lack of necessary knowledge of the meaning and manner of writing a conservation-restoration treatment proposal, offer and cost estimate, it's one of the key student problems. This presentation will try to clarify these terms. For the purpose of this paper, according to the writing model used in the private conservation-restoration studio Kvinar d.o.o., examples of treatment proposal, offer and cost estimate were created for the picture frame of the painting Our Lady of Health from the church of St. Francis of Assisi in Imotski.

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Short biography

IRA FABRIO comes from Grad Grobnik, a place near Rijeka. She was born in Rijeka in 1997, where she finished high school (gymnasium). Ira is now in her 3rd year of the First-Cycle Bachelor's Programme of Conservation-Restoration of metal at the University of Dubrovnik. Until now she did practical tasks in the laboratory of the Palazzo Spinelli Institute in Florence and in Kvinar d.o.o., a private conservation-restoration studio. She has participated at the 15th International Conference of Conservation and Restoration Studies in Split, with the poster "Electrolytic cleaning and silvering".

15. MEĐUNARODNA KONFERENCIJA STUDIJA KONZERVACIJE-RESTAURACIJE (SPLIT 2018.)

Ispod se nalaze sažeci i cjeloviti tekstovi usmenih izlaganja predstavljenih na 15. međunarodnoj konferenciji studija konzervacije-restauracije. Konferencija je održana 2018. godine u Splitu, a program možete pogledati ovdje. Napominjemo da neki predavači nisu predali cjelovite tekstove svojih izlaganja.

Presentation of the Work on Wall Painting Conservation Projects in Ladakh, North India (2015, 2017)

Author: Klára Kolářová
Mentor: Adam Pokorný, PhD, Assistant Professor

Art Conservation Department, Academy of Fine Arts in Prague (Czech Republic)
Study programme: Third-Cycle Doctoral Programme of Study in Conservation-Restoration
Specialization: Wall Paintings, Easel Paintings and Polychrome Sculpture (2nd year of study)

Abstract

The paper presents a part of the author’s dissertation entitled "The Conservation of wall paintings made on earthen support,  by the eastern tradition, or by technique a secco", which focuses on different approaches and practices used in wall painting restoration. The wall paintings which are presented here were executed on a non-lime based support, with paintings done mainly a secco. In the restoration of wall paintings on earthen support there are some damages which are fairly similar to the ones found on frescos, as well as the completely different ones, both of which are discussed here. The main reasons of degradation are the monument's location itself, which implies extreme climates and natural disasters (earthquakes, fires and floods). Further damages are due to natural degradation process and sensitivity of the original materials.  Other degradations are caused by lack of maintenance and human actions such as the use for ritual purposes, the use of butter lamps, regular touching etc.,  and tourism. The paper presents two case studies of wall paintings in Ladakh, north India (supported by Tibet Heritage Fund), including the restoration treatments (which consisted in the consolidation of the paint layer, grouting, cleaning and infilling)  ethic dilemmas, the applied methods and the used materials.

Click here to read the paper online. (PDF // 1.55 MB)

When citing, please indicate the title of the paper and the name of the author. You must clearly indicate konferencija-restauracija.com as the source.

Opširnije:Presentation of the Work on Wall Painting Conservation Projects in Ladakh, North India (2015, 2017)

Conservation of Roman Wall Painting Fragments from Issa: Research and Reconstruction of the Original Scheme

Author: Marija Lena Bošković
Mentors: Nikola Radošević, Lecturer; Krešimir Bosnić, Lecturer

Department of Conservation-Restoration, Arts Academy of the University of Split (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration
Specialization: Wall Paintings and Mosaics (5th year of study)

Abstract

Archaeological excavations carried out in 2012 and 2013, at the site of the Antique city of Issa on the island of Vis, revealed a large number of fragments of Roman wall paintings, dating back to the first century AD. Following the collapse of an ancient construction, the fragments remained buried for almost 2000 years. After systematic research into the original scheme and the appropriate conservation treatment, the fragments could become one of the most important examples of Classical wall paintings in the area.

When found, the fragments were in a relatively good condition. The paint layer was of high artistic quality, depicting, among other things, some interesting mythological characters. Because of their large number, only one third of them have become object of research and conservation. The aim of the laboratory analysis and cleaning tests carried out on the surface dirt was to better understand the original techniques and materials and to provide the conservators with valuable information concerning the future treatment. After a close examination, which included the positioning of individual fragments, some assumptions have been made concerning the original design.

Click here to read the paper online. (PDF // 730 KB)

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Opširnije:Conservation of Roman Wall Painting Fragments from Issa: Research and Reconstruction of the...