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A experiência de Edson Motta (1910-1981), após sua formação no Fogg Conservation Center, ofereceu à prática de restauro no Brasil o uso de novos materiais e a introdução da técnica de reentelamento a cera-resina. Tal processo levanta o debate acerca das vantagens e desvantagens da utilização desse método, no contexto de um país tropical e com poucos recursos. Para pensar tal problemática, configura-se como importante ferramenta a abordagem da história e razões que levaram esse processo técnico a ser, muito provavelmente, a melhor opção para a preservação do vasto patrimônio de pinturas sobre telas no Brasil.
After Edson Motta's graduation from the Fogg Conservation Center, his experience contributed to the practice of conservation in Brazil through the introduction of new materials and the technique of wax-resin lining. However, this technique has drawbacks when applied in a country of tropical climate and few resources. It is important, when considering the use of this approach, to be mindful of the conservator's historical role, which can reveal why this technique was, very likely, the best choice for the conservation of the vast patrimony of canvas paintings in Brazil.
After Edson Motta's graduation from the Fogg Conservation Center, his experience contributed to the practice of conservation in Brazil through the introduction of new materials and the technique of wax-resin lining. However, this technique has drawbacks when applied in a country of tropical climate and few resources. It is important, when considering the use of this approach, to be mindful of the conservator's historical role, which can reveal why this technique was, very likely, the best choice for the conservation of the vast patrimony of canvas paintings in Brazil.
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Palavras-chave
Edson Motta Fogg Conservation Center Brasil Conservação de pinturas Reentelamento à cera-resina Brazil Painting conservation Wax-resin lining