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Problem uzupełnień ubytków w cienkiej warstwie malarskiej na przykładzie obrazu "Matka Boska Gidelska"

100%

Rachuta K.

nr 3

149-152

The painting Our Lady of Gidle is a mass-produced devotional painting. The painting technique was very simplified. After painting a series of paintings, the many-metre, usually very thin canvas was cut up, separating the individual compositions. The limpness of the base, the thin paint layer and the type of damages these paintings were in danger of, does not makt it possible to use the stereotype measures. The painting Our Lady of Gidle was created in the 19th cent, in the Częstochowa-Gidle workshops. It draws on the legend about finding the miraculous figure of Our Lady in a field. The painting handed over for conservation was in a very bad state: weakened canvas, no adherence to the base and flaking of the paint layer, numerous paint losses, bends etc. The measures began with straightening out the canvas and gluing under the paint layer. Then the paint layer was cleaned, the tears were glued up and patches were glued on. Next, the paint layer losses were supplemented. On a vacuum table, at a temperature of ab. 65°C, the painting was laminated with Beva 371 applied to silicone foil. After these steps, the limp under-painting was strengthened and the painting was additionally doubled by a thin canvas. For straightening and doubling, the paintina was soread out on a loom (even though it had not been spread out until that time). The conservation ended with pointing.

Polichromowany strop kasetonowy w kamienicy warszawskiej Rynek St. Miasta 34

86%

Dąbrowski K. , Żaryn S.

nr 2

116-124