Baptism, XVI century
Wood, pavoloka, levkas, tempera
95 x 76 x 2.5 cm
Restorer - R.A. Kesarev
DRZ-3172
Prior to the
restoration the painting was under the layer of darkened uneven dry drying
oil and solid multi-layer diverse paint layers all over the surface. Along
the lower edge of the icon was a recent inset of ground under paint layer
and drying oil and numerous minor losses of paint film to levkas all over
the surface. On the background was a recent moulded ornament and relief
inking of nimbi covered with gold. Original gold on yellow polyment was lost
(its traces on the background and nimbi remained). General surface grime.
In the process of
clearing the darkened drying oil film and recent paint layers were removed.
In the places of losses of paint film recent paint layers or drying oil were
preserved. Simultaneously with clearing the strengthening of paint film was
carried out if necessary. Necessary mastics and tinting were carried out,
restoration varnish was applied.
Yegor The Greek, SELECTED SAINTS, 1742
Wood, levkas, tempera
52.7 x 43.5 x 2.5 cm
Restorer - Y.V. Azarnina
DRZ-2259 -2662
The surface of
icon was under the layer of darkened varnish with grime. All over the
surface - small reticulate craquelure of paint film and in the top and lower
parts of the icon - rigid varnish craquelure. Not numerous minor losses of
paint film mostly along the perimeter of the icon. The icon margins were
covered with silver setting
In the process of
clearing the top layer of varnish was thinned all over the surface, rigid
retina of varnish was bored out. The work was carried out with the help of
microscope. Mastics and tinting were applied on the losses. The icon is
covered with restoration varnish. Previously removed silver setting was
restored in the sector of restoration of metal.
OLD TESTAMENT TRINITY, ХVIII century
Wood, pavoloka, levkas, tempera
71 сm (diameter)
Restorer - D.Y.Pronchatov
DRZ-465
After renovation
restoration of XIX century the surface of icon was covered with abrasions
and varnish. On light sections the varnish was tinted. On the robes of
Saints and inscriptions - renovation paint layers. All along the perimeter
of the icon - blue renovation selvedge over paint film
Thinning of
varnish was carried out with the help of spirit-turpentine emulsion with
subsequent finishing with the help of binocular microscope. Removal of paint
layers was carried out with the help of microscope. The surface of icon
strengthened with sturgeon glue
The Nativity of Christ, XVIII century
Wood, levkas, tempera
72.5 cm (diameter)
Restorers - N.I. Govorkova, D.Y. Maltseva
DRZ-466
Round icon of the
same tier as 'Old Testament Trinity' (ДРЖ Б-465). The surface of icon was
under the yellowed uneven thick layer of varnish and surface grime.
Abrasions of varnish and paint film all over the surface of icon, losses of
ground in the centre and numerous all along the perimeter of the icon with
recent paint layers. Over cracks - minor crumbling of paint film and ground.
All along the perimeter of the icon - recent blue inking which was applied
almost without varnish layer. Abrasions and renovation layers over gold.
Light sections of painting were covered with tinted varnish
Partial clearing
in the top right quarter was carried out by D.Y. Maltseva in 2002. The work
was continued in 2004 by N.I. Govorkova. In the process of clearing of the
top part of the icon remains of original inscription 'Образ Рождества" which
were covered by the recent selvedge showed up. Judging by the remains of
inscription the icon was considerably filed. "Рождество Христово"
inscription in the top part of the icon was made during one of the old
renovations. In the process of restoration surface grime was removed,
yellowed varnish was thinned and leveled, recent blue selvedge was removed.
The losses were filled in with mastic and retouched. Icon is covered with
restoration varnish
N.A. Sagrekow. PORTRAIT OF BOXER HANS BREITENSTRATER, 1925
Oil on canvas
53 x 49 cm
Restorer - Т.B. Serova
VHJS-5799
The painting had
been stored without a stretcher rolled up face inside for a long time and as
a result of it rigid deformations of support, breaks and peeling off of
paint film and ground appeared on the surface. Along the edges in the centre
- sections of 'powdering' of ground because of irregularity of canvas
junction presumably due to wetting.
Ground and paint
film on the painting were strengthened, deformations of support were pressed
and smoothed with new edges. The painting was fixed to a new stretcher.
Grime was removed with the help of emulsion, on several sections - dry
method was applied. Tinting on the places of losses made with oil paint.
I.A. Pustynin. PORTRAIT OF EMPRESS MARIA FEDOROVNA(1759 - 1828),
WIFE OF PAUL I , Circa 1797
Oil on canvas
71 x 56 cm
Restorer - I.N. Kornyakova
J-3202
The painting had
rigid ground craquelure and breaks of paint film all over the surface. Heavy
grime and yellowed varnish distorted the original colouring. On the face and
hair were old faded retouchings covering the original paintwork.
After the
strengthening of paintwork and craquelure laying old varnish was thinned and
smoothed down on the painting, paint layers were removed. On the places of
losses tinting was applied and after that the painting was covered with
dammar varnish with turpentine
I.Y. Vishnyakov. ARCHANGEL GABRIEL, Middle of ХVIII century
Oil on canvas, tempera
222 x 92 cm
Restorer - N.I. Rusakova
JB-915
'Archangel
Gabriel' icon was painted for the iconostasis of the Trinity Cathedral in
1755 and was located on the door of the Southern gates at the entrance of
the diaconicon of the church. After a recurrent fire in 1933 the church was
pulled down and the icons from that iconostasis entered the funds of the
State Russian Museum. The information of the Trinity Church icons appeared
in the catalogue of painting in 1980.
In S.V.
Moiseyeva's article 'To the Question of Authorship of the Icons from the
Iconostasis of the Trinity Cathedral in St. Petersburg' by means of
comparison of archive, iconographic, technological and other information the
authorship of 'court counselor and master of painting Ivan Visnyakov and
artist Dmitry Mikhailov' is proved and the progression of work on the
iconostasis is reconstructed thanks to the reports of the Building
Chancellery of 1755.
Conservation
works preceded the complex research and clearing of the icon. The icon was
damaged by the fires and renovations. Breaks, peeling off of ground and
paint film, exfoliation of paint layers, traces of burns were visible. After
the strengthening and fixing of the icon to the permanent stretcher
technological and chemical-biological research was carried out. Microscope
study showed that the canvas was still elastic and was in satisfactory
condition not counting the grime, traces of glue, solvents and through
burns.
To choose the
method of clearing it was necessary to find out what technique the icon was
executed in, the nature of renovation layers, the condition of underlying
paintwork. The background and robes of Gabriel suffered from renovations
most of all. The letters over the head were rewritten. The visible
luminescence research under the influence of ultraviolet rays showed
considerable thickness of varnish layers of diverse character.
The infrared ray
research and X-ray showed the satisfactory condition of image painting and
part of the robes, the real size of losses on the white tunic and green
himation in the centre of figure and places of burns. The X-ray revealed the
structure and peculiarities of the work of art, the peculiarities of
strokes, form modeling. The X-ray allowed to determine the exact size of
losses of original paintwork, to define its borders.
Numerous analyses
of samples from diverse sections showed that the lowest paint layer over
bolus priming is an oil paint film with layers of egg tempera, wax, oil on
thin white layer of chalk over it. The main aim of clearing of original
paintwork was to 'even the painting', i.e. to bring the condition of paint
film and original varnish - if it survived - to the common level or layer.
After trial works
it became obvious that the condition of section over the head of Gabriel
doesn't allow to carry out complete clearing so the paint layers in this
place were only thinned and their borders - 'grinded'. After the completion
of painterly restoration and covering with varnish the icon occupied a
fitting place among the works created by Ivan Vishnyakov and Dmitry
Mikhailov for the Trinity Cathedral.
M.S. Kopeikin. Male Model, 1936
Charcoal on paper
56 x 37.3 cm
Restorer - Y.V. Iovleva
РС-20295
The original
sheet was pasted to the dense paper sheet with its corners and centre of the
lower edge, had heavy uneven yellowing, heavy grime, abrasion, deformation.
Numerous diverse grime on the margins: traces of fingers, dotted dark stains
of insect feces, stains of pulverized charcoal, flows with brown halos,
stains of glue. White dotted stains were on the figure. Rigid breaks, deep
scratches, punctures, ruptures from 0.3 cm to 14.3 cm over the sheet. Also
on the original sheet - losses at the centre of the top edge 0.8 x 0.5 cm
and in the centre of the lower right quarter 2.5 x 1.4 cm (with tinting on
the backing).
Reverse side of
the original sheet also had numerous grime with abrasions, yellowing. After
removal from the backing the original sheet was cleaned from surface grime
with a soft brush, rubber crumb and eye scalpel from the face and reverse
side. The drawing was cleansed on the sheets of filter paper wetted in
distilled water. The margins of the drawing in the places of extreme grime
were treated with 'Child' soap foam with the help of soft brush. The places
of soap treatment were washed with the help of cotton wool pads renewed as
they got dirty. General chemical treatment of the sheet from the reverse
side with subsequent washing was carried out. Breaks and ruptures were
strengthened with laminated Japanese paper. The losses were made-up with
paper similar to the support of drawing. Original sheet was lined on two
layers of mica paper. After pressing tinting on sections of made-up losses
and abrasions of paint film and support were realized.
ARTISTIC FRAME, Second half of ХIХ century
Wood (pine-tree), tinted paper, paper bronze relief of diverse tone,
whiting, Indian ink
58.7 x 68 x 2.5 сm
Restorer - G.G. Polischuk
? 1844
The decision to
restore the exhibit was taken because of the preparation of the exhibition
of artistic frames in the Russian Museum. Since the wooden frame was
decorated with paper elements the fund of frame storage turned to the sector
of restoration of graphic art.
The visual
examination showed the emergency condition of the exhibit : tinted paper
(with drawing made in diverse graphic techniques) pasted onto the wooden
surface of frame was heavily deformed. The paper in one of the corners
cracked. Relief paper lines came off the paper surface here and there and
were partially lost. Numerous abrasions with losses of surface layer were
observed on protruding and warped parts of decorative elements. Especially
heavy warping and losses were on the inner side of the frame - black relief
lines pasted to the slants of frame window. On the brown paper base were
flows, scratches, dents, stains of diverse grime.
Glue used for
junction of paper elements gradually considerably dried and tightened
several fragments of paper decor. Ruptures and losses on the paper part of
the wooden frame were caused by that. The biggest rupture of paper was in
one of the frame corners in the place of glue line of wooden parts.
To take
restoration measures it was necessary to remove the paper part from the
wooden surface. The technique of execution of paper frame design excluded
the possibility of wetting during restoration. That's why it was essential
to use the 'dry' method. It was especially complex because dried-up paper
could crack in any place at any time.
After research
and trial measures the system of subsequent restoration was worked out. The
entire paper surface of the frame was cleared from dust with the help of
soft brush. Paper lines were taken from the tinted paper surface very slowly
(millimeter by millimeter) - six lines on each side. Then the main paper
part was very carefully separated from wood. One should mention that it was
pasted to the wooden plane with the edges (inner and outer). It made the
process much easier. After the removal of paper support it appeared that it
was lined on blue paper.
The next stage
was the elimination of deformation of paper support and strengthening of
rupture. After removal of dust from both sides the reverse side was wetted.
After straightening of paper the rupture was strengthened. Then a light
weight was placed all over the surface. The next process engaged maximum
removal of dried-up glue from the reverse side of each relief line,
elimination of line deformation, filling up of losses. After those measures
each line was wiped with a micro-tampon wetted in spirit.
The final stage
was placement of paper base and relief lines in position. The fixation of
paper on wood was executed along the inner and outer edges, relief lines
were pasted (as it was originally). Flour glue was used. Slight tinting in
the places of abrasions and losses were implemented.
PENDENT CANDLESTICKS (from the Maltese Chapel) After the draft by
Giacomo Quarenghi, 1800
Wood, carving, levkas, gilding, silvering, paintwork
59 x 20.5 cm; 58 x 21.2 cm
Restorers - M.M. Iliukhina (Д-103), O.V.Timofeyeva (D-104, D-103,
D-104
The gilt of both
candlesticks was completely covered with a recent bronzed layer which
gradually darkened, faded and discoloured. The layer of bronze covered the
minor details of low-relief decor. On candlestick Д-104 were two losses in
ornamental decor on the achanthus leaves. The solidity of junction of legs
with the base of candlesticks was disturbed. Nidal peeling and losses of
ground were present.
These alterations
of exhibit condition which occurred in the process of their existence
considerably distorted the original intention of the author.
To return the
exposition state of the candlesticks it was decided to remove the recent
bronzed covering. For that after receiving of results of the chemical
analysis trial clearing of several sections of candlesticks was executed
which showed that under bronze is combined gilding of diverse condition but
on the whole the condition of bronze was found satisfactory.
The construction
of wooden support is strengthened. Mastic casting from original analogues in
the places of losses of carved decor were made (Д-104). Ground and gilt were
strengthened. Losses of ground were made-up, processed in form. All
retouchings executed with watercolors.
CAPITAL from the Holy Trinity Cathedral, 1756
Wood, carving, levkas, zieren, combined gilding
40.7 x 55 cm
Restorer - I.S. Vesnina
D-73
Gilded surface of
carving was under the layer of pressed dust and soot. Slight bronze
renovations, flows of paint and varnish. On sections with nidal peeling of
ground preventive pasting was applied earlier. Ruptures over glue lines,
minor break away of carving and losses of levkas could be observed. Several
fragments of decor were in mobile condition. On four sections - traces of
recent fastening in the shape of old forged corroded nails hammered into
support with dents, crumbling of wood and peeling off of ground. One of such
sections - on the smooth plane in the centre of capital (around the nail
hole were dents of ground covered with thick layer of aged bronze and
varnish).
In the process of
restoration the peeling ground was strengthened, the mobile fragments of
carving were pasted, old corroded nails were dismantled. From the surface of
carving diverse grime and renovations were removed. While removing the
discoloured bronze and varnish on the plane in the centre of capital a vast
abrasion of gilt to ground with uneven surface 6 x 5 cm came to light. It
actively broke the form violating the exposition state of the exhibit.
Ground on that section was partially leveled.
Losses of levkas
and break away of carving made up all over the surface, nail holes and
ruptures over glue lines covered with mastics. All made-up sections and
mastics tinted with watercolours. Tinting on section with a vast abrasion of
gilt turned out to be most complex because of its size and location in the
centre of composition on the open and smooth surface.
'BATTLE OF MALY YAROSLAVETS' RELIEF MEDALLION after the sketch by
F.P. Tolstoi. Detail of decorative vase - jardiniere
Imperial Porcelain Factory, 1860
Slightly baked ceramic mass, moulding
13.4 cm (diameter)
Restorer - N.Y. Kasatkina
F-9292
The relief
entered the restoration workshop in a group of 10 medallions removed from
the vase for cleaning. All relieves were dismantled, cleaned from grime and
then mounted into bronze gilded settings again. This work complicated by the
heightened fragility of slightly baked ceramic mass was carried out by
restorers R.V. Starikova and L.V. Dmitrenko.
One relief
'Battle of Maly Yaroslavets' was broken into 56 fragments and lined on paper
from the reverse side. The relief was taken out of the metal setting and
disassembled. The fragments of the medallion were washed in distilled water,
mechanically cleaned from traces of glue and sorted out into groups for
subsequent pasting. Pasting was carried out by means of PVA-emulsion with
warming. Losses, break away and indentations were masticated with gesso.
Medallion lined on 'gauze' from the reverse side.
MICA WINDOW CROSS CASEMENT, XVII century
Mica, iron, forging
51 x 39 cm
Restorer - A.S. Smirnov
DRM-3333
Restoration of
the monument began in 2003. The examination revealed that part of the iron
binding is broken and lost. Mica was also partially lost, stratified in many
places. The casement was broken into three parts. The surface was covered
with dust grime and soot, rust covered the whole surface of iron.
Non-persistent
dust grime from the surface of mica and iron were removed with a soft brush
in order to avoid the damage of stratified sections of mica. More persistent
grime were removed with the help of solvent and compresses. Rust from the
binding was removed with the help of rust transformer.
Stratified
fragments of mica and edges were impregnated with alcoholic solution of
polymer with subsequent pressing. Losses of mica details were made up with
mica similar in thickness and colour to the original. Fragments of binding
were also made up with lines of iron similar in thickness and width to the
original. Iron details were treated with corrosion inhibitor and preserved.
During the
process of monument treatment it was discovered that sheets of mica before
the mounting of iron binding were sewn together overlapping with a thread
during casement production.
FIBULA, ХII century
Bronze, casting, gilding, white metal (silver?), iron
11.4 x 6.9 x 4.5 cm
Restorer - A.S. Smirnov
DPA-780
The restoration
of the monument began in 2002. Visual examination showed that the whole
surface was covered with a thick layer of corrosion concealing part of the
relief and gilding. The iron needle of the fibula is entirely mineralized
and broken in several places, on the inner surface of fibula - remains of
loess layers.
The removal of
corrosion from the surface was carried out in turn by softening of corrosion
layers with compresses with solution of natrium hexametophosphate,
degreasing of surface with solvent and mechanical removal with the help of
eye scalpel under magnifying glass.
After removal of
corrosion products it appeared that the fibula is decorated with white metal
twisted wire. The chemical analysis showed that it's silver.
Iron mineralized
needle was strengthened with its numerous impregnation with polymer
solution. Bulging and peeling of gilt were strengthened with the help of
thermoplastic polymer solution with their subsequent setting with
thermo-palette-knife.
'THE MOTHER OF GOD OF THE DON' SHROUD, ХVII century
Stroganov art workshop
Silk, canvas, gold, silver and silk threads, needlework
101 x 82 cm
Restorer - V.P.Kudryavtseva
No.044 (Solvychegodsk Historical and Art Museum)
'The Mother of God of the Don' shroud was in the permanent
exposition of Solvychegodsk Historical and Art Museum
The condition of
the shroud was quite alarming: gold thread of embroidery was grimed,
darkened, grew dim, deformed and covered with abrasions, in some places -
lost to linen flooring; there were losses of fastening of gold thread in
several places. Face embroidery was especially damaged. As a result of it
there was heavy deformation and large flows on the image and hands of the
Mother of God and child, feet of Christ. General grime, stains of wax,
general heavy deformation. Deep and rigid folds of gold and face embroidery.
Decrepit edges of shroud, with ruptures and minor losses. 12 gold and silk
thread tassels were crudely sewn to the lower edge, also very decrepit,
grimed, with considerable losses.
The shroud
entered the SRM sewn onto the stretcher. First of all one had to dismantle
the exhibit and examine the face and especially reverse side in search of
fungous affection.
The mycological
examination carried out in the sector of chemico-biological research of the
SRM showed intensive development of microscopic fungi capable of causing
damage to the exhibit in several places of the surface. That's why the
restoration works began with dismantling of the exhibit: ripping off of
tassels, lining (which turned out to be very decrepit - with cuts, ruptures,
minor losses, stains, heavy deformations). Then the shroud was
antiseptizated with alcoholic solution of catamin AB.
In the process of
subsequent restoration measures surface and persistent grime, stains of wax,
flows from the face and reverse side of the shroud were removed. It was a
dry cleaning with the help of soft brush, aqueous solutions of neutral
detergent, chemical solutions, aqueous-alcoholic solution of glycerin.
To eliminate the
deformation from four sides of the face surface of the shroud unbleached
calico margins were sewn. The shroud was fixed by these margins on
plane-table and dried under cloth being smoothed after clearing. The
strengthening of fastening of gold embroidery was done with a needle and
silk thread of the tone similar to the original tone of the monument.
Decrepit edges were strengthened with 3%-flour paster.
The lining of
shroud after clearing was lined onto tinted excelsior silk with natural dyes
with mordants. In the places of heavy damage the silk was also darned with
gauze thread. After strengthening the lining was sewn to the shroud with
chain stitch. Restoration tassels were sewn to the original places to the
lower edge.
FABRIC FROM THE REVERSE SIDE OF THE ICON, ' Emmanuel The Saviour',
Simon Ushakov, 1668
Silk, weaving
45 x 35 cm
Restorer - M.K. Litash
DRJ-268-2454
The restoration
examination showed that the cloth on the reverse side of the icon is
decrepit, grew dim, lost elasticity, unevenly faded, has cuts and losses -
biggest on the bends along the perimeter and in the places of dowel contact.
Cloth - silk damask - has heavy grime, with numerous drops of wax, stains of
wax, rust, glue. The glue came through to the face side from the reverse. In
these places the silk became fragile and brittle. General heavy deformation
of cloth. The results of microchemical research carried out in the chemico-biological
sector of the SRM by senior research officer Y.M. Savateyeva: hide-and-bone
glue, persistent dye, consists of the mixture of indigo and tannins -
natural dyes; the type of cloth was determined by distinctive interweaving
of support and weft threads - Persian fancy damask. The results of research
helped to choose the method of grime removal and select and dye the material
for filling of losses.
In the course of
restoration measures surface and persistent grime was removed. Stains of
wax, glue and rust were removed with water and chemical solutions including
organic solvents. The elasticity and shine of silk were restored with
plasticization. Losses were made up with silk fabric tinted with natural
dyes close in interweaving to the smooth (without pattern) parts of damask
and hand-sewn with a needle with gauze thread along the contour of losses.
The whole decrepit cloth was strengthened using the method of lining with a
needle, gauze thread onto dense silk gauze tinted with natural dyes.
Deformation was eliminated.
ARMCHAIR UPHOLSTERY, G. Sapozhnikov Factory. Moscow,
1860s
Silk, weaving
51 x 109 cm (face side of the back)
60 x 127 cm (reverse side of the back)
58 x 62 cm (bottom)
14.5 x 20.5 cm (arms)
Restorer - Z.M. Silnova
MEB-1104
Uneven fading of
silk of armchair upholstery, abrasion, numerous ruptures and cuts of threads
all over the surface. In the places of most frequent contacts (top part of
the back, bottom and arms) there were considerable losses of cloth and
numerous household grime.
During the
dismantling of upholstery of the back of the reverse side of the armchair
inner details came to light including the layer of horsehair. It became
clotted, had heavy grime.
In the course of
restoration the upholstery of the rear side of the armchair and two
elbow-rest arms were dismantled. Dust was removed from the horsehair and
evenly spread across the entire surface of the armchair back, fixed and
upholstered in gauze. Surface pollution, stains and flows were eliminated.
Cloth for relining was selected and inpainted. The places of ruptures and
cuts of the thread were made good with restorative netting placed on silk
with a needle threaded with a gauze thread. The bottom and elbow-rest arms
upholstery were recovered with tinted silk gauze and also fixed with a
needle threaded with a gauze thread.
'AFRICA' TAPESTRY, Saint-Petersburg Tapestry Factory, 1749, Wool,
silk, weaving
319 x 218 cm
Restorers - V.P. Kudryavtseva, N.K. Litash, Z.M. Silnova, N.K.
Shebeko
TK-1030
For many years
'Africa' tapestry had been exhibited openly in the permanent exposition of
the museum so its surface was grimed, unevenly faded and covered with
abrasions. During the previous restoration in 1970s the tapestry was
entirely lined on two layers of tinted tulle with flour paster. Restoration
insets discolored and faded especially along the perimeter, on dark
background there were support threads coming off from the lining material.
The canvas which
the tapestry was sewn to was grimed with stains along the perimeter and dark
flows at the bottom. In the process of restoration the tapestry was ripped
off from the canvas, surface grime from both sides was removed with soft
vacuum cleaner brush and cotton tampons wrapped in gauze. To moisten and
eliminate the deformation the exhibit was sprinkled from the sprayer with
aqueous-alcoholic-glycerin solution and dried under the cloth press.
Exfoliating threads and fragments of support were strengthened with flour
paster.
ARTISTIC FRAME for I.F. Khrutskoi Painting 'Flowers and Fruits'
(Ж-5249)
Wood, levkas, paper, mastic, patina potaille
69.5 x 86.5 cm
Restorer - M.V. Demchenko
R-796
At the
beginning of frame restoration the plated molded decor was heavily damaged:
considerable fragments of corner compositions were lost, crest edging on
many sections was missing. The surface of the frame was heavily darkened and
grimed.
In the
process of complex research carried out by the sector of chemical and
biological research of SRM it was determined that the original covering of
the frame was gold leaf. Decorative trimming was made with thin ragpaper
ornamented with slight stamping. Paper pasted under the gilt on the margins
of fillets creates a thin ornament on the surface which was almost
indistinguishable before restoration because of the darkened recent
coverings.
In the
process of existence the frame was exposed to total renovation. Its surface
was completely covered with potaille and artificial patina was applied to
damp its lustre (oeloresinous varnish with admixture of pigment and bronze
powder). Varnish was unevenly applied, the covering oxidized and heavily
darkened, in some places it was partially lost to potaille.
The
primary task of restoration was conservation of the exhibit, strengthening
of remaining ornament and levkas, removal of grime, then - restoration of
ornament integrity. Losses of mastic decor were made up with analogous
material using the method of form demold from remaining elements. The most
complex stage was thinning and smoothing of darkened varnish layer. Varnish
covering is not readily soluble, has losses and slackened bond with potaille
which considerably complicated the process of its smoothing. After the work
with varnish the places of losses of varnish layer were tinted with
watercolours. Thus the darkened uneven covering was smoothed, thinned, the
ornament on frame fillets became visible. Dark test sections on the photos
show the condition of covering before restoration. On the final stage
tinting of restoration fillings of ornament with watercolours was carried
out.
In the
sector of chemical and biological research senior research officer Y.M.
Savateyeva carried out pre-restoration examination of the painting by the
unknown artist 'Portrait of Leontina Rossi'.
The
following technological characteristics were researched in each micro-sample
for painting analysis:
-
stratigraphic system, i.e. set, quantity and sequence of ground,
pasting, paint, varnish, glazing and surface layers;
-
qualitative structure of organic binders and mineral and organic
pigments or fillers in each layer of original stratigraphic system;
-
presence as well as type of subsequent interference
The
following research methods were used for analysis:
-
Microscopy in reflected non-polarized light (МБС-10, magnification
10-100);
-
Microscopy in transmitted polarized light ('БИОЛАМ-МФН-11, magnification
- up to 800);
-
Microchemistry. Histochemistry. Thin-layer chromatography
As a
result of analysis of samples of thin sections of painterly layers in
reflected and transmitted polarized light it was determined that the
painting was totally repainted twice. Presumably Leontina Rossi originally
posed in a red dress and then in search of a better colour solution one more
layer was added. Alterations in the form of red drapery date from the same
period. Several fragments were glazed with lake over varnish (figure 1).
White drapery and sofa in the right part of the painting weren't altered.
The painting is on two-layer ground: the lower yellow layer - consists of
ochre on emulsion binder, the top layer - oil white lead, surface covering -
2 layers of varnish
The
pigments of the original painting of sky, the lower (dark blue) and the next
(blue) layer identical to the colour of the dress consisted of dark blue
cobalt of equal dispersion on oil adhesive. All this made it possible to
draw a conclusion that the change of colour of the dress had been the
choice of the artist. The upper blue colour consisted of Prussian blue
with a touch of white led; some wax had been added to the oil adhesive.
The
conducted research allowed to work out a plan of scientific restoration
measures. |
