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Abstract(s)
O presente relatório de estágio, realizado no âmbito do mestrado em Conservação e Restauro de Bens Culturais, na Escola das Artes da Universidade Católica Portuguesa, apresenta o estudo e intervenção de conservação e restauro de uma pintura sobre tela, de dupla face, na tipologia de uma bandeira processional, sendo que a face principal da tela representa a passagem bíblica o Beijo de Judas e, no seu verso, as Três Cruzes do Calvário. A obra pertence ao Mosteiro de Santa Maria de Pombeiro, Felgueiras. A pintura encontrava-se presa entre uma dupla estrutura fixa de madeira, que lhe servia de moldura e grade, em simultâneo, permitindo a visualização de ambos os lados da tela. No entanto, este sistema não garantia a tensão adequada e, consequentemente, a sua planificação, comprometendo significativamente a integridade e a conservação da obra. As constantes flutuações de humidade relativa e temperatura contribuíram para a fragilidade do suporte, sobretudo nos pontos de fixação à dupla moldura, denotando-se uma perda da flexibilidade e oxidação do suporte têxtil. Como resultado, as margens da tela encontravam-se sem resistência mecânica e parcialmente solta dos vários pregos que a fixavam. Ambas as faces da pintura apresentavam inúmeros pasmados esbranquiçados por toda a extensão que dificultavam a leitura da obra. De modo a contribuir para o conhecimento da materialidade e técnica da obra, o estudo foi realizado através de um conjunto de métodos de exame e análise. Tendo em consideração as diferenças estilísticas nas duas faces, pretendeu-se compreender a técnica pictórica e os materiais empregues, em particular, a caracterização do aglutinante, devido às diferenças de textura e brilho, que caracteriza a superfície pictórica da face principal. Ambas as faces pintadas obrigaram a delinear estratégias de conservação adaptadas às necessidades da obra, no que diz respeito à limpeza, tratamento de rasgões do suporte têxtil e tensionamento da obra de arte. A necessidade de manter os elementos da moldura original possibilitou o desenvolvimento de um sistema de tensão regulável adaptado à estrutura e à colocação de bandas perimetrais duplas. O objetivo desta intervenção passou por devolver a estabilidade físico-química da mesma, prolongando a sua longevidade e devolvendo a leitura da obra.
This internship report, carried out within the scope of the master's degree in Conservation and Restoration of Cultural Heritage, at the School of Arts of the Catholic University of Portugal, presents the study and intervention of conservation and restoration of a double-sided painting on canvas, in the typology of a processional banner, with the front side of the canvas representing the biblical passage the Kiss of Judas and, on its back, the Three Crosses of Calvary. The work belongs to the Monastery of Santa Maria de Pombeiro, in Felgueiras. The painting was held between a double fixed wooden structure, which served as its frame and stretcher simultaneously, allowing for the visualization of both sides of the canvas. However, this system did not ensure adequate tension and, consequently, its flattening, significantly compromising the integrity and conservation of the work. The constant fluctuations in relative humidity and temperature contributed to the fragility of the support, especially at the attachment points, denoting a loss of flexibility and oxidation of the textile support. As a result, the margins of the canvas were without mechanical resistance and were partially detached from the several nails that held it together. Both sides of the painting had numerous whitenings along their entire length that made it difficult to read the work. To contribute to the knowledge of the materiality and technique of the work, the study was carried out through a set of examination and analysis methods. Considering the stylistic differences on the two sides, there was the intention to understand the pictorial technique and the materials used, in particular, the characterization of the binder, given the differences in texture and brightness, which characterize the pictorial surface of the main side. With both sides painted, it was required to devise conservation strategies adapted to the needs of the work, with particular reference to the cleaning process, repairing of tears in the textile support and the stretching of the artwork. The need to keep the elements of the original frame made it possible to develop an adjustable tension system adapted to the structure and the placement of double strips-linings. The objective of this intervention was to restore its physicochemical stability, prolonging its longevity and restoring the clear reading of the work.
This internship report, carried out within the scope of the master's degree in Conservation and Restoration of Cultural Heritage, at the School of Arts of the Catholic University of Portugal, presents the study and intervention of conservation and restoration of a double-sided painting on canvas, in the typology of a processional banner, with the front side of the canvas representing the biblical passage the Kiss of Judas and, on its back, the Three Crosses of Calvary. The work belongs to the Monastery of Santa Maria de Pombeiro, in Felgueiras. The painting was held between a double fixed wooden structure, which served as its frame and stretcher simultaneously, allowing for the visualization of both sides of the canvas. However, this system did not ensure adequate tension and, consequently, its flattening, significantly compromising the integrity and conservation of the work. The constant fluctuations in relative humidity and temperature contributed to the fragility of the support, especially at the attachment points, denoting a loss of flexibility and oxidation of the textile support. As a result, the margins of the canvas were without mechanical resistance and were partially detached from the several nails that held it together. Both sides of the painting had numerous whitenings along their entire length that made it difficult to read the work. To contribute to the knowledge of the materiality and technique of the work, the study was carried out through a set of examination and analysis methods. Considering the stylistic differences on the two sides, there was the intention to understand the pictorial technique and the materials used, in particular, the characterization of the binder, given the differences in texture and brightness, which characterize the pictorial surface of the main side. With both sides painted, it was required to devise conservation strategies adapted to the needs of the work, with particular reference to the cleaning process, repairing of tears in the textile support and the stretching of the artwork. The need to keep the elements of the original frame made it possible to develop an adjustable tension system adapted to the structure and the placement of double strips-linings. The objective of this intervention was to restore its physicochemical stability, prolonging its longevity and restoring the clear reading of the work.
Description
Keywords
Pintura de dupla face Bandeira processional Bandas perimetrais duplas Sistema de tensão do suporte têxtil Double-sided painting Processional banner Double strip-linings Textile support tension system