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Abstract(s)
O objeto de estudo desta dissertação é uma pintura de retrato sobre tela, de Dona Ermelinda
Cândida Leite Ferreira Monteiro. A pintura encontra-se datada, 1976, e assinada no reverso
por Sousa Júnior, mas estas inscrições permaneceram ocultas até ao desenvolvimento da
presente intervenção de conservação e restauro.
O estado de conservação da pintura foi determinante para a escolha do tema de investigação,
na medida em que a tela se encontrava num estado frágil, a nível de suporte, e tinha
sofrido repintes muito extensos. Devido a um corte em todo o seu perímetro, a obra foi entretelada
de forma deficiente, numa intervenção anterior, sem ter sido realizada uma união adequada
dos vários fragmentos. Para ocultar os danos, foram aplicadas massas de preenchimento,
de forma excessiva e foi feita uma alteração na composição formal do retrato. Na presente
intervenção, era necessário retirar a entretelagem anterior, unir os fragmentos separados e
proceder a uma reentelagem.
Como a tela apresentava a assinatura do pintor e a data de execução, ponderou-se realizar
uma reentelagem transparente de forma a não se perder este importante testemunho histórico.
Por outro lado, a debilidade do suporte original obrigava a um reforço estrutural acrescido,
pelo que se teria que conjugar rigidez com a necessidade de transparência. Assim, este
trabalho teve como principal objetivo propor uma metodologia de tratamento estrutural apropriada
à pintura em estudo, após revisão dos materiais e procedimentos utilizados em entretelagens
transparentes.
Na presente dissertação, foram descritas todas as fases da intervenção de conservação e
restauro e justificadas as opções tomadas, de acordo com os problemas apresentados pela
obra. Também foram revistos os procedimentos das entretelagens transparentes, com um passado
recente e foi proposta uma nova abordagem, a nível das resinas utilizadas e para a qual
foi realizada uma série de provetes para ensaios. Após esse trabalho, foi escolhida a resina
com melhor comportamento a nível de rigidez, de envelhecimento e de transparência.
The study object of this dissertation is a portrait painting on canvas from Dona Ermelinda Cândida Leite Ferreira Monteiro. The painting is dated from 1976 and it is signed in the back for Sousa Júnior, although these inscriptions have remained hidden until the development of this conservation and restauration intervention. Its conservation status was decisive in the choice of the research subject, because the canvas was in a fragile state regarding support and the overpainting were widespread. Due to a cut around its perimeter, the work was poorly interfaced during another intervention, without performing the union of the cut parts in the original canvas. In order to hide the damage, were applied filling mass in an excessive manner and causing an alteration in the formal composition of the portrait. In the present intervention it was necessary to remove the interlining, to unite the separate parts, and relining. As the screen showed the signature of the painter and the execution date, a transparent relining option was necessary in order not to lose this important historical testimony. On the other hand the weakness of the original support imposed an increased structural reinforcement therefore was essential to combine stiffness to the transparency requirement. So this study has the end objective propose a structural treatment methodology, appropriated to the study canvas, after reviewing the materials and procedures applied to the transparent linings, It was herein described every stage of the conservation and restoration intervention and justified the choices made in accordance with the problems presented by the work. It was also reviewed the developments made in the recent past in field of study of transparent linings, and proposed a new approach, at the level of the resins used and for which were carried out a series of test pieces for trials. After completion of the test pieces, the resin with the best behavior in terms of aging, stiffness and transparency was chosen.
The study object of this dissertation is a portrait painting on canvas from Dona Ermelinda Cândida Leite Ferreira Monteiro. The painting is dated from 1976 and it is signed in the back for Sousa Júnior, although these inscriptions have remained hidden until the development of this conservation and restauration intervention. Its conservation status was decisive in the choice of the research subject, because the canvas was in a fragile state regarding support and the overpainting were widespread. Due to a cut around its perimeter, the work was poorly interfaced during another intervention, without performing the union of the cut parts in the original canvas. In order to hide the damage, were applied filling mass in an excessive manner and causing an alteration in the formal composition of the portrait. In the present intervention it was necessary to remove the interlining, to unite the separate parts, and relining. As the screen showed the signature of the painter and the execution date, a transparent relining option was necessary in order not to lose this important historical testimony. On the other hand the weakness of the original support imposed an increased structural reinforcement therefore was essential to combine stiffness to the transparency requirement. So this study has the end objective propose a structural treatment methodology, appropriated to the study canvas, after reviewing the materials and procedures applied to the transparent linings, It was herein described every stage of the conservation and restoration intervention and justified the choices made in accordance with the problems presented by the work. It was also reviewed the developments made in the recent past in field of study of transparent linings, and proposed a new approach, at the level of the resins used and for which were carried out a series of test pieces for trials. After completion of the test pieces, the resin with the best behavior in terms of aging, stiffness and transparency was chosen.
Description
Keywords
Pintura Reentelagem Transparente Resina epóxida Painting Relining Transparent Epoxy resin