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Authors
Abstract(s)
As obras de arte contemporânea oferecem aos profissionais de conservação-restauro desafios que vão desde suas poéticas artísticas até sua materialidade, que envolve técnica, materiais, dimensões, entre outras características. Estes desafios são evidentes neste trabalho, perante a necessidade de realizar uma intervenção de conservação-restauro da pintura contemporânea “Thais”, de Pedro Proença, realizada em 1984. As questões, relacionadas com a grande dimensão, de 199x275cm, e com a falta de documentação, tiveram claro impacto na a identificação dos materiais e intervenções anteriores, intervenções e danos que eram evidentes através de patologias, como rasgões, manchas nas laterais e alterações cromáticas e de brilho que alteravam a leitura da obra. Com o objetivo de devolver à pintura a sua plasticidade original e definir a correta estratégia de intervenção, foi traçado um caminho no cruzamento entre a pesquisa e o processo de documentação de arte contemporânea, a entrevista com o artista, o modelo de tomada de decisões, a identificação dos materiais e a definição e realização dos tratamentos necessários. Os tratamentos realizados consistiram na correção de deformações do suporte, da consolidação de rasgões, grande parte anteriormente intervencionados, e da remoção e correção das reintegrações cromáticas com desajustes de cor e brilho. Tendo em vista que muitos problemas que circundam as obras de arte nos moldes de “Thais” provêm de questões relacionadas com as suas dimensões, propôs-se também, neste trabalho, medidas para a sua conservação e possíveis intervenções futuras.
Contemporary works of art offer conservation-restoration professionals challenges that range from artistic poetics to their materiality, which involves technique, materials, dimensions, among other characteristics. These challenges were present in this work, with the carrying out of an intervention of conservation-restoration of the contemporary painting “Thais”, by Pedro Proença, carried out in 1984. The issues that arose related to the large dimension, 199x275cm, and lack of documentation, making it difficult to identify the materials and previous interventions, evident through existing pathologies, such as tears, stains on the sides and chromatic and gloss alterations that altered the reading of the work. With the aim of returning the painting to its original plasticity and defining the correct intervention strategy, a crossing path was traced between research and the process of contemporary art documentation, the interview with the artist, the decision-making model and identification of materials and definition and implementation of the necessary treatments. The treatments performed consisted of correcting support deformations, consolidating tears, most of which had already been intervened, and removing and correcting chromatic reintegrations with color and gloss mismatches. Considering that many problems that surround works of art in the “Thais” molds come from issues related to their dimensions, measures for their conservation and possible future interventions were also proposed in this work.
Contemporary works of art offer conservation-restoration professionals challenges that range from artistic poetics to their materiality, which involves technique, materials, dimensions, among other characteristics. These challenges were present in this work, with the carrying out of an intervention of conservation-restoration of the contemporary painting “Thais”, by Pedro Proença, carried out in 1984. The issues that arose related to the large dimension, 199x275cm, and lack of documentation, making it difficult to identify the materials and previous interventions, evident through existing pathologies, such as tears, stains on the sides and chromatic and gloss alterations that altered the reading of the work. With the aim of returning the painting to its original plasticity and defining the correct intervention strategy, a crossing path was traced between research and the process of contemporary art documentation, the interview with the artist, the decision-making model and identification of materials and definition and implementation of the necessary treatments. The treatments performed consisted of correcting support deformations, consolidating tears, most of which had already been intervened, and removing and correcting chromatic reintegrations with color and gloss mismatches. Considering that many problems that surround works of art in the “Thais” molds come from issues related to their dimensions, measures for their conservation and possible future interventions were also proposed in this work.
Description
Keywords
Pintura contemporânea Papel Grandes dimensões Intervenção conservação-restauro Entrevista Têmpera-vinílica Superfície mate Contemporary painting Paper Large dimensions Intervention conservation-restoration Interview Vinyl tempering Matt surface