Advisor(s)
Abstract(s)
Este estudo pretende dar a conhecer a intervenção de Conservação e Restauro de
uma pintura contemporânea e de grande formato do artista espanhol Vicente Peris.
Além da complexidade inerente à dimensão da obra (332 x 334 cm), a
intervenção levantou outros desafios relativos aos materiais e à técnica de produção. O
artista assumiu uma intenção experimental, de uma pintura bastante directa, que a
aproxima da pintura de acção. Sem vontade inicial de fazer a obra perdurar no tempo, o
artista armazenou a pintura em questão e outras da mesma série em local cujas
condições foram factor determinante para a degradação das obras.
Os pigmentos aglutinados em PVA, e o betume para a cor negra, foram
aplicados directamente em suporte têxtil sem preparação ou encolagem e a pintura foi
desengradada após a sua conclusão. Estes factores integram a pintura na categoria de
materiais instáveis. A obra apresentava graves deformações do suporte e camada
pictórica que deram origem a vincos e fissuras, e também exibia rasgões, lacunas e
fragmentos coloridos provenientes de outras obras.
O facto de esta e de as outras pinturas da mesma série terem estado guardadas
sem suporte auxiliar que impedisse a movimentação do suporte têxtil deu origem a
várias patologias. Neste sentido, expõem-se os mecanismos degradação e do
comportamento mecânico da tela, e faz-se a revisão dos suportes auxiliares, as grades.
The aim of this study is to present and reveal the Conservation and Recovery Interventions in a contemporary and outsize painting by the Spanish artist Vincente Peris. In addition to the complexity associated to the dimension of the piece (332 x 334 cm), the intervention raised other challenges concerning the materials and the production technique. The artist assumed an experimental intention of a quite direct painting, which makes a clear approach to action painting. Without the initial purpose of making the piece last in time, the artist stored the mentioned painting and others of the same series in a place where the surrounding conditions were a contributing factor to the degradation of the pieces. The agglutination of pigments in PVA and the bitumen for the black colour were directly applied in a textile funding with no priming or sizing and the painting became degraded after being concluded. These factors place the painting in the category of unstable materials. The painting presented serious support and pictorial layer damages which caused crease marks and cracking as well as tearing, flaws and coloured fragments from other pieces. The fact that these and other paintings have been stored without any aiding support that prevented the movement of the textile support generated several pathologies. Bearing this in mind, the degradation mechanisms and the mechanic behaviour of the canvas must be exposed and the revision of the aiding supports – the stretchers – must also be made.
The aim of this study is to present and reveal the Conservation and Recovery Interventions in a contemporary and outsize painting by the Spanish artist Vincente Peris. In addition to the complexity associated to the dimension of the piece (332 x 334 cm), the intervention raised other challenges concerning the materials and the production technique. The artist assumed an experimental intention of a quite direct painting, which makes a clear approach to action painting. Without the initial purpose of making the piece last in time, the artist stored the mentioned painting and others of the same series in a place where the surrounding conditions were a contributing factor to the degradation of the pieces. The agglutination of pigments in PVA and the bitumen for the black colour were directly applied in a textile funding with no priming or sizing and the painting became degraded after being concluded. These factors place the painting in the category of unstable materials. The painting presented serious support and pictorial layer damages which caused crease marks and cracking as well as tearing, flaws and coloured fragments from other pieces. The fact that these and other paintings have been stored without any aiding support that prevented the movement of the textile support generated several pathologies. Bearing this in mind, the degradation mechanisms and the mechanic behaviour of the canvas must be exposed and the revision of the aiding supports – the stretchers – must also be made.
Description
Keywords
Vicente Peris Arte Contemporânea Conservação de pintura Pintura de grande formato Contemporary Art Conservation of painting Oversize painting