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Abstract(s)
O estágio centrou-se no estudo e tratamento de conservação e restauro de uma escultura em madeira policromada de São Francisco de Assis, atribuída ao século XVII e pertencente à Venerável Ordem Terceira de São Francisco, de Guimarães. A intervenção decorreu nas oficinas da Universidade Católica Portuguesa - Escola das Artes. A escultura de São Francisco de Assis tem como dimensões: 155 cm de altura, 63 cm de largura e 31 cm de profundidade. A madeira utilizada na produção desta escultura foi madeira de castanho. Ainda sobre a produção, sabemos que a obra é composta por um único bloco de madeira, vazado na parte de trás, com goivas e enxó, embora a terceira parte inferior do cordão e os dedos tenham sido feitos à parte. Os braços também fazem parte do mesmo bloco, apesar de deturpados, apresentam os mesmos veios que a madeira do bloco principal. Os braços foram desbastados de forma que ocorreu uma deformação irreversível, deste modo a figura perdeu volumetria e acurácia anatómica. Os principais problemas da escultura foram, a deturpação da anatomia dos braços, os desbastes anatómicos, a falta de um dedo e o grave destacamento que ocorria na policromia, especialmente nas carnações. A recuperação da legibilidade da figura foi um dos principais focos neste tratamento. Segundo os cortes estratigráficos, observámos que a obra passou por diversos repintes e determinamos que ocorreram, pelo menos, três campanhas de restauro. O hábito passou por uma completa alteração, apresentando uma camada cinzenta que foi aplicada posteriormente à camada original e foi determinado que, como a folha de ouro se encontrava por cima desta camada cinzenta, esta também terá sido um procedimento posterior ao original. Foi realizado o levantamento histórico e iconográfico da obra, o estudo analítico e posterior intervenção de conservação e restauro. Foram realizados estudos que permitiram a compreensão dos materiais, tendo sido realizados os seguintes exames: registos fotográficos gerais e de pormenor com máquina fotográfica Canon EOS750D, observação e registo fotográfico de cortes estratigráficos através de microscópio ótico e digital. O bem cultural foi intervencionado tendo em consideração a estabilização física e uma nova assemblagem dos braços com madeira de castanho e devolução da leitura tanto das carnações como do hábito. Para a reconstituição volumétrica do dedo em falta, utilizamos a tecnologia 3D. O programa utilizado para o scan e modelação do dedo e de uma miniatura da figura completa antes do procedimento, foi a aplicação Polycam-LiDAR para o iPhone 12. A miniatura tem como finalidade ser um meio de comunicação visual e tátil para visitantes cegos e com outras incapacidades de modo a poderem vivenciar a exposição de uma nova forma, interagindo com a peça de uma maneira mais íntima. As impressões foram realizadas com um polímero de ácido polilático derivado de fontes renováveis, como amido de milho, numa impressora ultimaker 2+.
The internship focused on the study, conservation and restoration treatment of a polychrome wooden sculpture of São Francisco de Assis, attributed to the 17th century and belonging to the venerable third order of São Francisco, from Guimarães. The intervention took place in the workshops of the Universidade Católica Portuguesa- School of Arts. The sculpture of São Francisco de Assis has the following dimensions: 155 cm height, 3 cm wide and 31 cm deep. The wood used in the production of this sculpture was chestnut wood. Still about the production we know that the work is composed of a single block of wood , hollowed out at the back, with gouges and adze, although the third lower part of the cord and the fingers were made separately. The arms are also part of the same block, although distorted, they have the same veins as the wood of the main block. The arms were thinned so that an irreversible deformation occurred, thus the figure lost volumetry and anatomical accuracy. The main problems of the sculpture were, the distortion of the anatomy of the arms, the anatomical thinnings, the lack of a finger and the serious detachment that occurred un the polychromy, especially in the carnations. The recovery of the legibility of the figure was one of the main focuses in this treatment. According to the stratigraphic cuts, we observed that the work underwent several repaints and determined that there were at least three restoration campaigns. The habit underwent a complete alteration, presenting a gray layer that was applied later to the original layer and it was determined that as the gold leaf was on top of this gray layer, this was also a later procedure than the original. A historical and iconographic survey of the work was carried out, as well as an analytical study and subsequent conservation and restoration intervention. Studies were carried out that allowed the understanding of the materials, and the following examinations were carried out: general and detail photographic records with a Canon EOS750D camera, observation and photographic record of stratigraphic sections through optical and digital microscopes. The cultural asset was intervened taking into account the physical stabilization and a new assembly of the arms with chestnut wood and the return of the reading of both the carnations and the habit. For the volumetric reconstruction of the missing finger, we use 3D technology. The program used to scan and model the finger and thumbnail of the complete figure before the procedure was the Polycam-LiDAR application for the iphone 12. The thumbnail is intended to be a means of visual and tactile communication for blind and visually impaired visitors and other disabilities so that they can experience the exhibition in a new way, interacting the piece in a more intimate way. Prints were performed with a polylactic acid polymer derived from renewable sources such as corn starch, on an ultimaker 2+ printer.
The internship focused on the study, conservation and restoration treatment of a polychrome wooden sculpture of São Francisco de Assis, attributed to the 17th century and belonging to the venerable third order of São Francisco, from Guimarães. The intervention took place in the workshops of the Universidade Católica Portuguesa- School of Arts. The sculpture of São Francisco de Assis has the following dimensions: 155 cm height, 3 cm wide and 31 cm deep. The wood used in the production of this sculpture was chestnut wood. Still about the production we know that the work is composed of a single block of wood , hollowed out at the back, with gouges and adze, although the third lower part of the cord and the fingers were made separately. The arms are also part of the same block, although distorted, they have the same veins as the wood of the main block. The arms were thinned so that an irreversible deformation occurred, thus the figure lost volumetry and anatomical accuracy. The main problems of the sculpture were, the distortion of the anatomy of the arms, the anatomical thinnings, the lack of a finger and the serious detachment that occurred un the polychromy, especially in the carnations. The recovery of the legibility of the figure was one of the main focuses in this treatment. According to the stratigraphic cuts, we observed that the work underwent several repaints and determined that there were at least three restoration campaigns. The habit underwent a complete alteration, presenting a gray layer that was applied later to the original layer and it was determined that as the gold leaf was on top of this gray layer, this was also a later procedure than the original. A historical and iconographic survey of the work was carried out, as well as an analytical study and subsequent conservation and restoration intervention. Studies were carried out that allowed the understanding of the materials, and the following examinations were carried out: general and detail photographic records with a Canon EOS750D camera, observation and photographic record of stratigraphic sections through optical and digital microscopes. The cultural asset was intervened taking into account the physical stabilization and a new assembly of the arms with chestnut wood and the return of the reading of both the carnations and the habit. For the volumetric reconstruction of the missing finger, we use 3D technology. The program used to scan and model the finger and thumbnail of the complete figure before the procedure was the Polycam-LiDAR application for the iphone 12. The thumbnail is intended to be a means of visual and tactile communication for blind and visually impaired visitors and other disabilities so that they can experience the exhibition in a new way, interacting the piece in a more intimate way. Prints were performed with a polylactic acid polymer derived from renewable sources such as corn starch, on an ultimaker 2+ printer.
Description
Keywords
São Francisco de Assis Escultura Recuperação da legibilidade Conservação e restauro Reconstituição volumétrica Reconstrução 3D. Sculpture Recovery of legibility Conservation and restoration Volumetric reconstruction 3D reconstruction