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  1. 2 Trochimowicz A.

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  2. 1 2002

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Wpływ parkietaży na odkształcenia podobrazi drewnianych i stan zachowania warstw malarskich

100%
Trochimowicz A.
Ochrona Zabytków
|
2018
|
issue 2
107-132
PL
Parkietaż – drewniana konstrukcja przymocowana do odwrocia obrazu, zapobiegająca ruchom desek podłoża – został wypracowany w toku kilkusetletniej praktyki stolarzy i artystów i wydawał się odpowiednią metodą stabilizacji podłoża malarskiego. Obecnie jednak zauważa się jego negatywny wpływ – hamuje on pracę podłoża obrazu, co skutkuje pękaniem i odkształceniami drewnianych tablic oraz uszkodzeniami warstwy malarskiej. Określenie tego wpływu ma istotne znaczenie dla skutecznej konserwacji obrazów z parkietażem. Do badań wytypowano 53 obrazy zabytkowe z parkietażem. Określono stan ich zachowania oraz warunki przechowywania. Następnie za pomocą skanera optycznego zmierzono odkształcenia 10 możliwie jednorodnych obrazów oraz tablic modelowych, wykonanych na wzór tablic zabytkowych, przed i po zabiegu postarzania mikroklimatycznego, oddającego warunki przechowywania obiektów zabytkowych. Uzyskane wyniki potwierdziły skuteczność parkietaży. Po ich założeniu tablice powracały do swojego pierwotnego kształtu, z biegiem czasu ulegały jednak postępującej destrukcji. Rezultaty badania pozwoliły na sformułowanie zaleceń konserwatorskich dla obrazów z parkietażem.
EN
Cradle – a wooden structure, fixed to a reverse of a painting and preventing unwanted movement of wooden panels – has been developed in the course of many centuries’ work of carpenters and artists. As such, it seemed an appropriate method of stabilising the painting support. In contemporary research, however, some negative impact of cradle has been noticed – it hampers the work of the support, leading to cracks and deformation of wooden panels and causing damage to the paint layer. Assessment of such impact is essential for effective preservation of cradled paintings. 53 historic cradled paintings were selected for a research project. Their preservation status and storage conditions were defined first. Subsequently, using an optical scanner, distortion levels of 10 possibly uniform works were measured, along with model panels – based on original panels – before and after the process of microclimatic ageing which reflected the storage conditions of historic paintings. The research results confirmed the effectiveness of a cradle. After applying a cradle, the panels would return to their original shapes, although they also underwent gradual destruction over time. The results allowed to formulate a set of art-preservation recommendations applying to cradled works.
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Transfer malowideł ściennych o nierównej powierzchni : konserwacja malowidła z sufitu mitreum w Huarte

100%
Trochimowicz A.
Ochrona Zabytków
|
2002
|
issue 3-4
309-315
EN
A mithraeum, decorated with paintings and originating from the fourth century A. D., was discovered in 1997 underneath the floor of the Syrian church from the sixth century A. D. The painted rock ceiling of the temple caved in during archaeological excavations, and the only way of saving the murals was to transfer them onto a new basis. The conducted conservation made it possible to exhibit the disintegrated painting while retaining the specificity of its original surface. A new type of facing was used for rendering indelible the original plaster - a negative was made of the traditional carriers in the form of cotton gauze and linen cotton, reinforced with ribbing made of Kapa-plast plates. The conservators also used a modified type of substitute foundation construction - an inner lining laminate with a Kappa-plast plate bracing truss covered with linen cloth. The truss chambers were filled with polyurethane foam, which was then laminated with an outer facing. The whole construction was additionally reinforced by installing a framework made of aluminium profiles with a system of thin wires stretched inside the foaming polyurethane. The applied material made possible a maximum reduction of the burden of the transfer. The purpose of the presented study was to devise a method of transferring the remaining part of the paintings in the mithraeum. In time, the progressing degradation of the rock foundation will make it necessary to shift also those paintings which today remain in situ.
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