- Tytuł:
-
Rozwarstwienie malowideł zdobiących północne wrota diakońskie z Opaki
Separation of paintings decorating the northern deacon’s doors from Opaka - Autorzy:
- Nowalińska, Małgorzata
- Powiązania:
- https://bibliotekanauki.pl/articles/537263.pdf
- Data publikacji:
- 2010
- Wydawca:
- Narodowy Instytut Dziedzictwa
- Tematy:
-
Opaka
ikona
ikonostas
rozwarstwienie malowideł
oddzielanie malowideł
przebieg rozwarstwiania
werniks
budowa technologiczna - Opis:
- As a part of the preparation of my master’s thesis at the Jan Matejko Academy of Fine Arts in Kraków, I undertook an extremely difficult task of separating two paintings placed on a common wooden support. The subject-matter of my thesis was the deacon’s doors of the iconostasis from the former Orthodox church in Opaka. The 18thcentury painting which had once decorated the doors was entirely repainted by Teofil Kopystyński in 1912. The chemical analyses that were carried out led to the detection of oil binder in the 20th century paint layer and oily tempera in the original paint layer, which is probably combined with the oil & resin finish layer. There was an intermediate oil layer between individual paintings, however no varnish was detected on the surface of the original composition, which made the separation process more difficult. After performing some preliminary tests, I finally decided to carry out the task by means of the “chemical” method, where dimethyloformamide solvent vapours are used to soften the surface paint layer. For this purpose I used a special sealed chamber, where the increased temperature resulted in the evaporation of the solvent, which had an impact on the paint layer being transferred through its protective face (i.e. the Japanese tissue-paper stuck with Velpon). I cut the softened paint layer into fragments by means of a scalpel. After many months of very difficult and dangerous work, I managed to remove the 20th century painting in two pieces, thereby uncovering the 18th century painting composition. After preparing reverse sides of both pieces and sticking them on intermediate carriers (paper interfacing with the use of Acrylkleber 360 and 498 HV), it was possible to remove the protective face and integrate the separated composition. I placed the removed painting on a wooden support using Beva Gel adhesive.
- Źródło:
-
Ochrona Zabytków; 2010, 1-4; 95-103
0029-8247 - Pojawia się w:
- Ochrona Zabytków
- Dostawca treści:
- Biblioteka Nauki
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