Винтажные и старинные предметы интерьера..
Restoration works of graphic art, executed in pastels
Запись от Евгений размещена 15.11.2010 в 08:31
(For work).
1. Disinfection
2. Removal of surface contaminants
3. Unmounting
4. Removal deformation
5. Restoration of pastels and other graphic works, carried out on parchment
6. Art restoration
7. Mounting and storage
Bed, as one of the least sound technician, requires a great restorer of experience. Pastel pencils - a pressed powder pigment, often without a binder, which determines the extreme fragility of the works written in crayons, to mechanical stress.
History knows many recipes fixatives and different ways of fixing pastels. But the bed can not fix, because it necessarily loses the qualities that define its velvety, soft, deep tone - in other words, any consolidation of the paint layer bed ceases to be a pastel.
As a basis for the use of pastel paper and paperboard, with a rough surface or a specially primed canvas, primed in a special way, some types of parchment and suede.
Ways to work with pastels are also different: only pastel pencils, pastel crayons pasty on rough ground, a thin layer of pastels on watercolor podmalevku, brush, like a wet sauce - in this case, the bed is not as velvety, but firmly held basis. Finally, write gouache on canvas, and then prescribe a pastel.
The most common injury pastels, depending on the foundations and techniques, is the talus of the paint layer. It occurs as a result of deformation basis for changing the temperature and humidity conditions. Often, when stored in pastel glazed frames deformations of the base leads to contact between the deformed parts of the glass (even if there are pads), and the upper layer of pastel remains on the glass (print).
On the bed, carried out on primed canvas, often found ssedanie soil and debris caused by a violation of preparation technology pounds, gross mechanical trauma to the canvas and corrosive chemical effects of silica glue from the labels of the turnover of the canvas (Fig. 25, 26).
RIS. 25. Ssedanie soil.
Unknown artist beginning of XIX century. "Portrait of a boy with a pipe. Fragment. Primed canvas, pastel. Artistic Pedagogical Museum of Toys, Sergiev Posad
Fig.26. Gaps.
Unknown artist. "Portrait of an unknown. Fragment. Paper, pastel. Orel Regional Art Gallery
The best basis for pastels - vellum (chamois, Velenje): its surface is such that the pigment zabivshiysya into the pores of the parchment, being introduced there so firmly that even under adverse storage conditions, when the lost surface paint layer, a pastel kind of keeps the exposition.
Unfortunately, the parchment has a significant drawback - strong hygroscopicity, susceptibility to deformation during humidity changes. And if waterlogging favors the development of molds, the excessive dryness of the air indoors can lead to warping of parchment, rupture, partial disruption of the nails, fasten it on a stretcher.
This chapter first deals with methods of disinfection of pastels, and then shared by all pastels processes: dismount, remove surface contamination. The following are methods of eliminating deformation, filling loss basis, duplication pastels, executed on paper, cardboard and canvas (in addition to what is stated in Sec. 3.9.7). Separately described duplication of works, executed in pastels (or other techniques) on parchment, as it has a number of features. References in the late Ch. 4 recommendations for artistic restoration, as well as mounting and edging relate to all types of pastels.
4.1. Disinfection
Unlike other techniques, pastel mold contamination - a signal to that in the first place to be disinfected, since bed can not be subjected to any chemical treatment of water! Pastels, executed on paper, cardboard, canvas, disinfect the chamber pairs of formaldehyde (see sect. 2.6.1).
For pastels on parchment (Fig. 27, 28)
RIS. 27. The defeat of the mold.
Unknown artist. "Portrait of Musin-Pushkin. (Fragment.) Parchment, pastel. Rybinsk Historical and Art Museum
RIS. 28. The same fragment after restoration
camera is used with pairs of thymol. The camera is a box of Plexiglas, which at a height of 1.5 cm inserted into a wooden frame with stretched over it in a grid nylon fishing line. On top of the camera tightly closed Plexiglas sheet.
At the bottom of the chamber put three layers of filter paper soaked with 5%alcoholic solution of thymol (preparation, see Sec. 3.1.7), then put the frame on the grid which is placed bed, and tightly closed cell sheet of plexiglass, leave for a day .
Disinfection thymol may also be performed in a special sealed chamber. In this case, the bottom of the camera in the cell is poured alcohol solution of thymol, and the grid is put to bed and leave at night. Pastel on canvas can be wiped with a turnover swab moistened with 2%alcohol solution nipagina (semi-dry method, the preparation of the solution, see Sec. 3.1.7).
4.2. Removal of surface contaminants
Very often the restoration of pastel limited removal of surface contamination. General dust paint layer of pastels to eliminate, of course, impossible, since the dust particles combined with particles of powder pastels. Remove subject to spot and flowing, layers of extraneous pigment, etc. In carrying out the work pastels laid horizontally or set on an easel.
Uncommon on the surface of pastel spots, which are fluff dried vegetative forms of mold, are removed with tweezers, the tip of a brush or eye scalpel, dental needle. Tools from time to time disinfected in 2%formalin solution nom alcohol (prepared at a cost of 2 wt. Formalin for 98 h. wt. Hour alcohol) and dried with filter paper.
Zateki stains and lead to compaction and darkening of the paint layer of pastel. Problem restorer in this case is to return to its original pigment optical properties. This condensed layer of pigment loosen, gently pushing the tip rastushki or wooden sticks, and sometimes a sharp eye with a scalpel.
Good fit and fine sandpaper (the numbers 0 or 1), fold it in half and work the edge of a bend.
As a result of mechanical action (strikes when transferring from one place to another, shaking for various reasons), the particles of the upper layer of pastel can move to adjacent areas where outsiders will be for the paint layer of the site. To remove this extraneous pigment, pastel better to put on an easel. The tip of a thin brush to touch the particle removed pigment. If the pigment is held securely, it is advisable to apply an eye scalpel. After the pigment particle shattered, it must be removed. All sorts of gross surface contamination, stickers, remnants of the mount, etc. recommend removing a scalpel and tweezers.
Reverse side of pastel cleaned from surface contamination in different ways, depending on the material basis and the state of preservation: a dry cotton swab, gauze, fleytsem, a scalpel, a wet cotton swab moistened with distilled water, and strongly pressed (cardboard, parchment). To do this, if the bed stretched on a frame, it is put on edge, or lay face down on the bed of mica paper. In the first case we must hold fast hand frame, that there was no shock in the second - that there was no movement in pastels on paper.
Often occurs when the bed, written on paper, glued to the edges of cardboard, containing lignin. In such cases, the paper may be contaminated with yellow spots, which distort the image. In such situations, possible treatment spots 0,5-1%solution of chloramine turnover semi-dry method, followed by weathering.
Warning Subsequent restoration process can proceed only after a thorough check iodkrahmalnoy paper!
4.3. Unmounting
Bed, stretched on a frame, take off with him, if to be duplication of bases. All work associated with razmontirovkoy, conducted with extreme caution. When small amounts of pastel restorer could handle alone, in other cases, working together.
Bed is placed face down on the mica paper and, holding firmly by the frame, begin to gradually remove the nails.
If the bed is glued to the stretcher, lightly moisten the edge (if this is permissible), and gradually a spatula or scalpel unstick from the stretcher. So do and when bed, written on paper, glued to the edges of the cardboard. If non-wetting as trying to cut the edges with a thin layer of cardboard, which is then removed.
4.4. Removal deformation
There are two ways to eliminate deformation: compaction and moisture-moisture-duplication-pressing.
1. Humidification-pressing. Applies mostly in cases where the bed is made of cardboard or a sturdy, durable paper and does not need to duplicate. To eliminate the strain using the method of stretching on the floor.
Bed lay face down on the mica paper. Around the perimeter of the work the edges of the stick 12%-s wheat adhesive strips (edge) of tracing paper to share the direction of width of 5.7 cm or more (depending on the size of the exhibit and the degree of deformation), calling at the original to 1-1,5 cm .
Glue is applied to the edge strips and glued them to the edges of the pastel. All closed cloth and leave at night.
The next day, moisturize bed turnover in several stages using a tampon, moistened with distilled water and depressed. Then placed on the plate face up, slightly moisten the strips of tracing paper, brush with 12%-s wheat glue and stick to the tablet, if possible straightening bed.
Then take tracing paper, whose size in all directions at 10 cm with more pastel stripes. Calculator lightly moisturize from the right side, put on the bed, stretch in the transverse direction and bonded to the edges of the tablet wheat paste.
Method of pressing a rubber stamp to ensure a slow, uniform drying. When tracing tighten, you can cover the bed cloth.
2. Humidification-duplication-pressing.
The second way to eliminate the strain difference is that at the same time, due to duplication, there is also strengthening the paint layer and the base.
Before duplication, check the foundation, its condition, the permissibility of moisture. If there is loss of bases, pick up a paper or cardboard, similar in quality, texture and color to the original. Prepare renewable fragments, treated with edge discontinuities and losses on the original. You can pre-compensate for the loss of bases.
Then choose a new basis for duplication. Bed can be duplicated on cardboard, paper, pasted paper, cardboard, on paper and canvas to canvas. When duplicating, you can use wheat flour paste or fish glue with an application of remote moisture. Appropriate methods of duplication are described in Sec. 3.9.4 and 3.9.5.
Depending on the condition of the paint layer and as a basis, the turnover can be duplicated based moisten the swab (eg, cardboard). This exhibit is better placed on greased sheet lining glue and less deformed.
Pastels, executed on primed canvas, duplicate the canvas (see sect. 3.9.7).
4.5. Restoration of pastels and other graphic works, carried out on parchment
Parchment was used as a basis for artistic works in a variety of media: watercolor, gouache, pastels, tempera.
One of the most important problems in the restoration works carried out on parchment, is the elimination of distortions basis, causing the destruction of the paint layer and distort the image (Fig. 30, 31).
RIS. 30. Deformation of parchment.
Unknown artist. "Portrait of M. Samarin. Parchment, watercolor. Historical-Architectural and Art Museum "New Jerusalem"
RIS. 31. The same picture after restoration
Parchment is easy to work straightening when moist, but after drying, due to rising temperatures and decreasing humidity of the environment, becomes deformed again. It is therefore necessary to fix a straightened the parchment on a basis that would prevent the emergence of new strains.
This task was successfully solved by duplication of parchment paper on the Japanese wheat glue (1-st method) or yaponskuyuPervy method is suitable for parchment (manuscripts, letters) that can be stored in folders between the sheets of paper, which is itself protected from sharp fluctuations in temperature and humidity conditions.
For graphic works (watercolor, gouache, pastel) on parchment, which should be exhibited in museums, overlapping only in the Japanese paper is not enough. Need for a long time to stabilize the straightened condition of the parchment canvas.
Therefore, the method of duplication watercolors, gouaches and pastels executed on parchment, consists of two phases: the duplication of Japanese paper and subsequent duplication of the canvas.
Pre-duplication at the Japanese paper is justified by the fact that it is faster and better than the canvas, glued together with a parchment and, furthermore, due to its application excludes the possibility of "manifestations" texture of the canvas on the front side of the work.
Before duplication of Japanese paper, or simultaneously with it (depending on the quality of the parchment) produce agglutination and pasting breaks.
If parchment thin and relatively flexible, you can glue breaks during duplication. If the parchment is thick, coarse, then pasting to be done in advance, because when drying after duplication of the parchment edges gap may disperse to form a gap.
Fig. 29. Gaps on parchment.
Unknown artist. 1780-e gg. "Portrait of an unknown in military uniform."
The State Russian Museum
4.5.1. Gluing and pasting breaks
If the parchment is thick and coarse, gluing and pasting breaks produced as follows.
Prepare strips of Japanese paper width 0,3-0,5 cm (narrow strip) and 1-1,5 cm (wide bar), depending on the size of pastels. The edges of the strips carefully grind down to nothing, so that after gluing the border strip is not imprinted on the front side of the work.
Clay wheat (12%-tion) carefully soften and blend in a 1:1 ratio with fish glue (with 10%) in a water bath at a temperature
35-37 ° C.
At the plate is put mica paper and laid it face down on the works executed on parchment. The edges of the gaps and povehnost parchment from the reverse side lightly moistened with 5%aqueous solution of glycerol (tampon much overcome!).
Very carefully, so that the glue did not get on the front side, edge tears smeared with glue and put "overlap" - so they found one another at 1-2 mm.
Prepared strips of Japanese paper smeared with glue and put on fused gap in 2 layers (first narrow and wide from the top - so provide for a better bonding). Smooth lightly with your fingers or a bone.
Close the gap pasted a piece of cloth, it put a light press (bed may conceal a light cloth to evenly dehydrate) and leave at night. Small punctures also glued Japanese paper.
Compensate for the loss of bases parchment. Methodology is the same as for the paper (see sect. 3.10), only apply the above formula of glue - a mixture of wheat and fish glue in a 1:1 ratio.
4.5.2. Duplication on Japanese paper
The work, carried out on parchment, is placed at night in a cell for remote moisture (see sect. 3.9.4.1) or swab moistened with traffic.
Japanese paper moistened with an atomizer and cover with plastic wrap.
Duplication of parchment lay face down on the mica paper, brush with warmed 12%-s wheat glue, impose on him the Japanese paper, is spread lightly with his hands, rolled down and placed in a roller press.
4.5.3. Duplication of Japanese paper and canvas
This method is based on the duplication of parchment paper on the method of duplication of paper and cardboard (see sect. 3.9.5), but has some distinctive features.
To duplicate using a mixture of 12%-tion of wheat and a 10%fish glue in a ratio of 1:1. Depending on the size of the work normally involved in the work of 2.3 restorer.
Pre-prepare all necessary for work: a tablet, 2 subframe (working and basic), canvas, paper, japanese, mica paper, tracing paper, glue wheat, isinglass, fleyts, brush, gauze, 5%aqueous solution of glycerin (see preparation in Sec. 3.1.8). Duplication is carried out in two stages. At the first stage of work is duplicated on Japanese paper, the second - on the canvas.
To duplicate the Japanese paper, pastels (or other work schedules, executed on parchment) is placed at night in a remote humidity chamber (see Fig. 17).
Sometimes, depending on the thickness of the parchment and the state of the paint layer is allowed moisturizing pad turnover of 5%aqueous solution of glycerol (tampon much overcome!). Moisturize immediately prior to duplication.
Sheet mica paper, the corresponding size of the parchment, put on a plate (Fig. 32a).
RIS. 32 a, b, c
Duplication pastels done on parchment, on Japanese paper and canvas:
and - placing the lining of the mica paper on a hard plate;
B - Preparation of parchment to duplication;
a - Preparation of Japanese paper lining
At the Restoration the table, but rather on another plate (so as to glue the glass cools rapidly) laid another sheet of mica paper, larger than parchment, and on it lay facedown on parchment (Fig. 32b).
It takes 10-15 minutes to duplicate sheet of Japanese paper, parchment larger than 5-10 cm on all sides, placed on a moist but not wet sheet of filter paper or moistened with an atomizer and cover with plastic wrap (Fig. 32B).
Wheaten thoroughly soften the glue, rubbed through a sieve and mixed with fish glue in a ratio of 1:1 at a temperature of 35-37 ° C.
On the other side of the parchment carefully applied fleytsem mixture of adhesives (Fig. 32g).
RIS. 32 g, d, e
r - application of the glue mixture on the turnover of parchment;
d - bonding parchment with Japanese paper and smoothing them through a pad of mica paper;
e - transfer duplicated parchment on the flatbed
One restorer necessarily holds the parchment for the corners to prevent movement of the sheet on the tablet, the other smooths hands softened by adhesive vellum, slight movements trying to rub the glue into all the folds and deformed areas.
Then the sheet of Japanese paper impose on the adhesive side of the baking parchment, so that all its edges were equal to the field and begin to smooth the paper hands to avoid air bubbles formed and both surfaces are well stuck together with each other (Japanese paper that is not crisp, better than a smooth mica paper). This operation is shown schematically in Fig. 32d.
Next parchment fused with Japanese paper, transferred face down on the mica paper, placed on the first plate (Fig. 32e). Fields of Japanese paper bend at 1-1,5 cm, smeared with glue, and stick to the tablet, as shown in Fig. 32zh (Japanese paper can be stuck to the tablet with strips of another paper).
RIS. 32 g, h, and
Well - tipping the fields of Japanese paper to the tablet;
W - tipping the tracing paper to the tablet;
and - stacking sequence of layers in the process of duplication of parchment on Japanese paper and pressing
On top of Japanese paper glued to the tablet sheet of tracing paper, sheet size exceeding Japanese paper (Fig. 32z). Due to the moisture in the lining sheet (Japanese paper), is moistened with tracing paper. At this point, its maximum stretch in the transverse direction, and after gluing the cloth cover.
After 15-20 minutes, dried and stretched vellum. Tension tracings obtained pressing, taking place simultaneously and a uniform drying in the next 24 hours. Unlike other cases, this rule is observed: a carbon copy should be lining sheet and the parchment-face to the mica paper, lying on the floor (Fig. 32 And).
After pressing and drying proceed to the next step - a duplication of the canvas. Usually canvas choose the most sleek, thin and tight. At working stretcher canvas stretched beforehand. On the inner side of the canvas point plot, the corresponding size of the duplicated parchment, and he applied a thin layer of a 10%fish glue at a temperature of about 30 ° C. After drying, the adhesive surface is treated with fine emery paper, bundles of threads cut with a scalpel. Reapplied to the canvas 10%fish glue.
Parchment with fields of Japanese paper cut from the tablet. Extra field (Japanese paper, along with the remnants of pastel edges) is cut so that the parchment after the duplication of the canvas was less than 3 mm on each side (or radius) than the size of the stretcher, on which, subsequently, the canvas must be stretched.
Again, place the parchment face down on the mica paper. Holding the corners, causing layer fleytsem 12%-tion of wheat paste, pre-softened, thinned and grated through a sieve, and gently laid the parchment face up (with mica paper) on canvas lining. Through mica paper with the front side of the parchment carefully smooths hands.
Sheets of tracing paper, larger than parchment, lightly moisten the outside (wet gauze), transferred onto the parchment and the maximum stretching and taping the edges of the canvas, using 12%wheat flour paste-tion. After the tension is covered with cloth. Thus, under the tracing paper and cloth is the process of drying and pressing at the same time, which should last for three days.
Then, still retained moisture, which gives the elasticity of the whole system (parchment paper on canvas), and promotes a good tension, duplicate parchment stretched on the main stretcher. Nails, screws or better yet, pressed (not pierce it!) In a pre-made holes with an awl. The extra edge of the canvas is cut, the remnants of the edge of the turnover is glued to the stretcher.
At present, reinforce edges with machine-gun (stapler, such as staples), with metal staples.
4.6. Art restoration
Art restoration pastels associated with the introduction of new, restoration, the pigment in place of damaged original paint layer.
When toning using pigment bed should be placed on an easel facing the light to see better color. You must have a set of pastels good quality with lots of shades of each tone.
There are the following types of damage the paint layer of pastels: blur, rubbing, talus, scratches and damage caused by defective or damaged foundations.
Blurring or even effacement pigment pastels - a frequent phenomenon, but the paint layer in this case nevosstanovim, even if there is a photo exhibit to injury.
Usually accompanied by blurring of the band blended pigment, they are formed as a result of the friction surface and distort what is left of the image. These bands can relieve, soften, break the tip of a thin hollow brush, pointed wooden sticks or eye scalpel.
Warning If greased individual lines in a drawing or sketch, performed pastel or mixed media, they can be restored only by the restoration council.
Restoring produce pastel chalk or powder with rastushki - depending on the manner in which written pastel.
The losses of the paint layer can be caused by breaks or loss of part of the framework, talus pounds. In such cases, inevitably rendering.
In the scree surface layer of pastel or abrasions are not allowed pasty pigment recovery, but merely summarizing the general tone.
Tinting produce a pastel by rastushovki. Friction pencil, pastel on paper are a fine powder (pollen), pastels, which is then transferred rastushkoy to the right place. If necessary, the tone by mixing several shades of pastel.
If the bed is made on a primed canvas, and there is a loss of pounds, pick up a pound, similar in composition to the author. To do this, prepare samples pounds, visually compare them with the author and choose the most suitable. The success of the tinting is largely dependent on the quality of bonding gaps and take stock of pounds.
In cases where there are pigmented zateki often use the method dusting transparent layer of pastel. Produce these rastushkoy, picked up the tone pastels.
Recipes soil for pastels, see: D. KIPLIK painting technique .- Moscow, Leningrad, 1950; Tyutyunik B. Materials and Techniques of Painting .- M.
4.7. Mounting and storage
Pastels on paper, cardboard, as well as pastels, gouache, watercolor on parchment to dig under glass with spacers. The height and width of the latter depends on the size of the exhibit, but must be not less than 3 mm.
Gaskets glued white paper and glued to the glass.
Keep pastels, strung on a stretcher, one must necessarily in a vertical position, as when stored in a horizontal position over time, the deformation (sometimes broken up a pound) on the Limits of the stretcher may also sagging glass, especially if the size of the exhibit is large.
Source: "the restoration of graphic" ВХНРЦ them. IE Grabar, M.1995
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Photo:
1.Ssedanie soil.
Unknown artist beginning of XIX century. "Portrait of a boy with a pipe. Fragment. Primed canvas, pastel. Artistic Pedagogical Museum of Toys, Sergiev Posad
2.Razryvy.
Unknown artist. "Portrait of an unknown. Fragment. Paper, pastel. Orel Regional Art Gallery
3.Porazhenie mold.
Unknown artist. "Portrait of Musin-Pushkin. (Fragment.) Parchment, pastel. Rybinsk Historical and Art Museum
4.Tot fragment after restoration
5.Razryvy on parchment.
Unknown artist. 1780-e gg. "Portrait of an unknown in military uniform."
The State Russian Museum
6.Deformatsiya parchment.
Unknown artist. "Portrait of M. Samarin. Parchment, watercolor. Historical-Architectural and Art Museum "New Jerusalem"
7.Tot same portrait after restoration
--------------------------------------------
8.Dublirovanie pastels, executed on parchment, on Japanese paper and canvas:
and - placing the lining of the mica paper on a hard plate;
B - Preparation of parchment to duplication;
a - Preparation of Japanese paper lining
9.g - application of the glue mixture on the turnover of parchment;
d - bonding parchment with Japanese paper and smoothing them through a pad of mica paper;
e - transfer duplicated parchment on the flatbed
10.zh - tipping the fields of Japanese paper to the tablet;
W - tipping the tracing paper to the tablet;
and - stacking sequence of layers in the process of duplication of parchment on Japanese paper and pressing
http://www.art-con.ru/?q=node/189
Restoration of graphic
1. Proceedings of graphic works
2. Investigation of the state of preservation of graphic works and preparation for the restoration
3. Restoration works of graphic art made on paper
4. Restoration works executed in pastels
5. Restoration of Japanese woodcuts
6. Restoration of Chinese Lubkov
7. Mounting works of graphic art
8. Packaging products of graphs
9. The premises, equipment, tools, materials
10. Safety rules during work with substances used in the restoration of graphic
http://www.art-con.ru/node/170
1. Disinfection
2. Removal of surface contaminants
3. Unmounting
4. Removal deformation
5. Restoration of pastels and other graphic works, carried out on parchment
6. Art restoration
7. Mounting and storage
Bed, as one of the least sound technician, requires a great restorer of experience. Pastel pencils - a pressed powder pigment, often without a binder, which determines the extreme fragility of the works written in crayons, to mechanical stress.
History knows many recipes fixatives and different ways of fixing pastels. But the bed can not fix, because it necessarily loses the qualities that define its velvety, soft, deep tone - in other words, any consolidation of the paint layer bed ceases to be a pastel.
As a basis for the use of pastel paper and paperboard, with a rough surface or a specially primed canvas, primed in a special way, some types of parchment and suede.
Ways to work with pastels are also different: only pastel pencils, pastel crayons pasty on rough ground, a thin layer of pastels on watercolor podmalevku, brush, like a wet sauce - in this case, the bed is not as velvety, but firmly held basis. Finally, write gouache on canvas, and then prescribe a pastel.
The most common injury pastels, depending on the foundations and techniques, is the talus of the paint layer. It occurs as a result of deformation basis for changing the temperature and humidity conditions. Often, when stored in pastel glazed frames deformations of the base leads to contact between the deformed parts of the glass (even if there are pads), and the upper layer of pastel remains on the glass (print).
On the bed, carried out on primed canvas, often found ssedanie soil and debris caused by a violation of preparation technology pounds, gross mechanical trauma to the canvas and corrosive chemical effects of silica glue from the labels of the turnover of the canvas (Fig. 25, 26).
RIS. 25. Ssedanie soil.
Unknown artist beginning of XIX century. "Portrait of a boy with a pipe. Fragment. Primed canvas, pastel. Artistic Pedagogical Museum of Toys, Sergiev Posad
Fig.26. Gaps.
Unknown artist. "Portrait of an unknown. Fragment. Paper, pastel. Orel Regional Art Gallery
The best basis for pastels - vellum (chamois, Velenje): its surface is such that the pigment zabivshiysya into the pores of the parchment, being introduced there so firmly that even under adverse storage conditions, when the lost surface paint layer, a pastel kind of keeps the exposition.
Unfortunately, the parchment has a significant drawback - strong hygroscopicity, susceptibility to deformation during humidity changes. And if waterlogging favors the development of molds, the excessive dryness of the air indoors can lead to warping of parchment, rupture, partial disruption of the nails, fasten it on a stretcher.
This chapter first deals with methods of disinfection of pastels, and then shared by all pastels processes: dismount, remove surface contamination. The following are methods of eliminating deformation, filling loss basis, duplication pastels, executed on paper, cardboard and canvas (in addition to what is stated in Sec. 3.9.7). Separately described duplication of works, executed in pastels (or other techniques) on parchment, as it has a number of features. References in the late Ch. 4 recommendations for artistic restoration, as well as mounting and edging relate to all types of pastels.
4.1. Disinfection
Unlike other techniques, pastel mold contamination - a signal to that in the first place to be disinfected, since bed can not be subjected to any chemical treatment of water! Pastels, executed on paper, cardboard, canvas, disinfect the chamber pairs of formaldehyde (see sect. 2.6.1).
For pastels on parchment (Fig. 27, 28)
RIS. 27. The defeat of the mold.
Unknown artist. "Portrait of Musin-Pushkin. (Fragment.) Parchment, pastel. Rybinsk Historical and Art Museum
RIS. 28. The same fragment after restoration
camera is used with pairs of thymol. The camera is a box of Plexiglas, which at a height of 1.5 cm inserted into a wooden frame with stretched over it in a grid nylon fishing line. On top of the camera tightly closed Plexiglas sheet.
At the bottom of the chamber put three layers of filter paper soaked with 5%alcoholic solution of thymol (preparation, see Sec. 3.1.7), then put the frame on the grid which is placed bed, and tightly closed cell sheet of plexiglass, leave for a day .
Disinfection thymol may also be performed in a special sealed chamber. In this case, the bottom of the camera in the cell is poured alcohol solution of thymol, and the grid is put to bed and leave at night. Pastel on canvas can be wiped with a turnover swab moistened with 2%alcohol solution nipagina (semi-dry method, the preparation of the solution, see Sec. 3.1.7).
4.2. Removal of surface contaminants
Very often the restoration of pastel limited removal of surface contamination. General dust paint layer of pastels to eliminate, of course, impossible, since the dust particles combined with particles of powder pastels. Remove subject to spot and flowing, layers of extraneous pigment, etc. In carrying out the work pastels laid horizontally or set on an easel.
Uncommon on the surface of pastel spots, which are fluff dried vegetative forms of mold, are removed with tweezers, the tip of a brush or eye scalpel, dental needle. Tools from time to time disinfected in 2%formalin solution nom alcohol (prepared at a cost of 2 wt. Formalin for 98 h. wt. Hour alcohol) and dried with filter paper.
Zateki stains and lead to compaction and darkening of the paint layer of pastel. Problem restorer in this case is to return to its original pigment optical properties. This condensed layer of pigment loosen, gently pushing the tip rastushki or wooden sticks, and sometimes a sharp eye with a scalpel.
Good fit and fine sandpaper (the numbers 0 or 1), fold it in half and work the edge of a bend.
As a result of mechanical action (strikes when transferring from one place to another, shaking for various reasons), the particles of the upper layer of pastel can move to adjacent areas where outsiders will be for the paint layer of the site. To remove this extraneous pigment, pastel better to put on an easel. The tip of a thin brush to touch the particle removed pigment. If the pigment is held securely, it is advisable to apply an eye scalpel. After the pigment particle shattered, it must be removed. All sorts of gross surface contamination, stickers, remnants of the mount, etc. recommend removing a scalpel and tweezers.
Reverse side of pastel cleaned from surface contamination in different ways, depending on the material basis and the state of preservation: a dry cotton swab, gauze, fleytsem, a scalpel, a wet cotton swab moistened with distilled water, and strongly pressed (cardboard, parchment). To do this, if the bed stretched on a frame, it is put on edge, or lay face down on the bed of mica paper. In the first case we must hold fast hand frame, that there was no shock in the second - that there was no movement in pastels on paper.
Often occurs when the bed, written on paper, glued to the edges of cardboard, containing lignin. In such cases, the paper may be contaminated with yellow spots, which distort the image. In such situations, possible treatment spots 0,5-1%solution of chloramine turnover semi-dry method, followed by weathering.
Warning Subsequent restoration process can proceed only after a thorough check iodkrahmalnoy paper!
4.3. Unmounting
Bed, stretched on a frame, take off with him, if to be duplication of bases. All work associated with razmontirovkoy, conducted with extreme caution. When small amounts of pastel restorer could handle alone, in other cases, working together.
Bed is placed face down on the mica paper and, holding firmly by the frame, begin to gradually remove the nails.
If the bed is glued to the stretcher, lightly moisten the edge (if this is permissible), and gradually a spatula or scalpel unstick from the stretcher. So do and when bed, written on paper, glued to the edges of the cardboard. If non-wetting as trying to cut the edges with a thin layer of cardboard, which is then removed.
4.4. Removal deformation
There are two ways to eliminate deformation: compaction and moisture-moisture-duplication-pressing.
1. Humidification-pressing. Applies mostly in cases where the bed is made of cardboard or a sturdy, durable paper and does not need to duplicate. To eliminate the strain using the method of stretching on the floor.
Bed lay face down on the mica paper. Around the perimeter of the work the edges of the stick 12%-s wheat adhesive strips (edge) of tracing paper to share the direction of width of 5.7 cm or more (depending on the size of the exhibit and the degree of deformation), calling at the original to 1-1,5 cm .
Glue is applied to the edge strips and glued them to the edges of the pastel. All closed cloth and leave at night.
The next day, moisturize bed turnover in several stages using a tampon, moistened with distilled water and depressed. Then placed on the plate face up, slightly moisten the strips of tracing paper, brush with 12%-s wheat glue and stick to the tablet, if possible straightening bed.
Then take tracing paper, whose size in all directions at 10 cm with more pastel stripes. Calculator lightly moisturize from the right side, put on the bed, stretch in the transverse direction and bonded to the edges of the tablet wheat paste.
Method of pressing a rubber stamp to ensure a slow, uniform drying. When tracing tighten, you can cover the bed cloth.
2. Humidification-duplication-pressing.
The second way to eliminate the strain difference is that at the same time, due to duplication, there is also strengthening the paint layer and the base.
Before duplication, check the foundation, its condition, the permissibility of moisture. If there is loss of bases, pick up a paper or cardboard, similar in quality, texture and color to the original. Prepare renewable fragments, treated with edge discontinuities and losses on the original. You can pre-compensate for the loss of bases.
Then choose a new basis for duplication. Bed can be duplicated on cardboard, paper, pasted paper, cardboard, on paper and canvas to canvas. When duplicating, you can use wheat flour paste or fish glue with an application of remote moisture. Appropriate methods of duplication are described in Sec. 3.9.4 and 3.9.5.
Depending on the condition of the paint layer and as a basis, the turnover can be duplicated based moisten the swab (eg, cardboard). This exhibit is better placed on greased sheet lining glue and less deformed.
Pastels, executed on primed canvas, duplicate the canvas (see sect. 3.9.7).
4.5. Restoration of pastels and other graphic works, carried out on parchment
Parchment was used as a basis for artistic works in a variety of media: watercolor, gouache, pastels, tempera.
One of the most important problems in the restoration works carried out on parchment, is the elimination of distortions basis, causing the destruction of the paint layer and distort the image (Fig. 30, 31).
RIS. 30. Deformation of parchment.
Unknown artist. "Portrait of M. Samarin. Parchment, watercolor. Historical-Architectural and Art Museum "New Jerusalem"
RIS. 31. The same picture after restoration
Parchment is easy to work straightening when moist, but after drying, due to rising temperatures and decreasing humidity of the environment, becomes deformed again. It is therefore necessary to fix a straightened the parchment on a basis that would prevent the emergence of new strains.
This task was successfully solved by duplication of parchment paper on the Japanese wheat glue (1-st method) or yaponskuyuPervy method is suitable for parchment (manuscripts, letters) that can be stored in folders between the sheets of paper, which is itself protected from sharp fluctuations in temperature and humidity conditions.
For graphic works (watercolor, gouache, pastel) on parchment, which should be exhibited in museums, overlapping only in the Japanese paper is not enough. Need for a long time to stabilize the straightened condition of the parchment canvas.
Therefore, the method of duplication watercolors, gouaches and pastels executed on parchment, consists of two phases: the duplication of Japanese paper and subsequent duplication of the canvas.
Pre-duplication at the Japanese paper is justified by the fact that it is faster and better than the canvas, glued together with a parchment and, furthermore, due to its application excludes the possibility of "manifestations" texture of the canvas on the front side of the work.
Before duplication of Japanese paper, or simultaneously with it (depending on the quality of the parchment) produce agglutination and pasting breaks.
If parchment thin and relatively flexible, you can glue breaks during duplication. If the parchment is thick, coarse, then pasting to be done in advance, because when drying after duplication of the parchment edges gap may disperse to form a gap.
Fig. 29. Gaps on parchment.
Unknown artist. 1780-e gg. "Portrait of an unknown in military uniform."
The State Russian Museum
4.5.1. Gluing and pasting breaks
If the parchment is thick and coarse, gluing and pasting breaks produced as follows.
Prepare strips of Japanese paper width 0,3-0,5 cm (narrow strip) and 1-1,5 cm (wide bar), depending on the size of pastels. The edges of the strips carefully grind down to nothing, so that after gluing the border strip is not imprinted on the front side of the work.
Clay wheat (12%-tion) carefully soften and blend in a 1:1 ratio with fish glue (with 10%) in a water bath at a temperature
35-37 ° C.
At the plate is put mica paper and laid it face down on the works executed on parchment. The edges of the gaps and povehnost parchment from the reverse side lightly moistened with 5%aqueous solution of glycerol (tampon much overcome!).
Very carefully, so that the glue did not get on the front side, edge tears smeared with glue and put "overlap" - so they found one another at 1-2 mm.
Prepared strips of Japanese paper smeared with glue and put on fused gap in 2 layers (first narrow and wide from the top - so provide for a better bonding). Smooth lightly with your fingers or a bone.
Close the gap pasted a piece of cloth, it put a light press (bed may conceal a light cloth to evenly dehydrate) and leave at night. Small punctures also glued Japanese paper.
Compensate for the loss of bases parchment. Methodology is the same as for the paper (see sect. 3.10), only apply the above formula of glue - a mixture of wheat and fish glue in a 1:1 ratio.
4.5.2. Duplication on Japanese paper
The work, carried out on parchment, is placed at night in a cell for remote moisture (see sect. 3.9.4.1) or swab moistened with traffic.
Japanese paper moistened with an atomizer and cover with plastic wrap.
Duplication of parchment lay face down on the mica paper, brush with warmed 12%-s wheat glue, impose on him the Japanese paper, is spread lightly with his hands, rolled down and placed in a roller press.
4.5.3. Duplication of Japanese paper and canvas
This method is based on the duplication of parchment paper on the method of duplication of paper and cardboard (see sect. 3.9.5), but has some distinctive features.
To duplicate using a mixture of 12%-tion of wheat and a 10%fish glue in a ratio of 1:1. Depending on the size of the work normally involved in the work of 2.3 restorer.
Pre-prepare all necessary for work: a tablet, 2 subframe (working and basic), canvas, paper, japanese, mica paper, tracing paper, glue wheat, isinglass, fleyts, brush, gauze, 5%aqueous solution of glycerin (see preparation in Sec. 3.1.8). Duplication is carried out in two stages. At the first stage of work is duplicated on Japanese paper, the second - on the canvas.
To duplicate the Japanese paper, pastels (or other work schedules, executed on parchment) is placed at night in a remote humidity chamber (see Fig. 17).
Sometimes, depending on the thickness of the parchment and the state of the paint layer is allowed moisturizing pad turnover of 5%aqueous solution of glycerol (tampon much overcome!). Moisturize immediately prior to duplication.
Sheet mica paper, the corresponding size of the parchment, put on a plate (Fig. 32a).
RIS. 32 a, b, c
Duplication pastels done on parchment, on Japanese paper and canvas:
and - placing the lining of the mica paper on a hard plate;
B - Preparation of parchment to duplication;
a - Preparation of Japanese paper lining
At the Restoration the table, but rather on another plate (so as to glue the glass cools rapidly) laid another sheet of mica paper, larger than parchment, and on it lay facedown on parchment (Fig. 32b).
It takes 10-15 minutes to duplicate sheet of Japanese paper, parchment larger than 5-10 cm on all sides, placed on a moist but not wet sheet of filter paper or moistened with an atomizer and cover with plastic wrap (Fig. 32B).
Wheaten thoroughly soften the glue, rubbed through a sieve and mixed with fish glue in a ratio of 1:1 at a temperature of 35-37 ° C.
On the other side of the parchment carefully applied fleytsem mixture of adhesives (Fig. 32g).
RIS. 32 g, d, e
r - application of the glue mixture on the turnover of parchment;
d - bonding parchment with Japanese paper and smoothing them through a pad of mica paper;
e - transfer duplicated parchment on the flatbed
One restorer necessarily holds the parchment for the corners to prevent movement of the sheet on the tablet, the other smooths hands softened by adhesive vellum, slight movements trying to rub the glue into all the folds and deformed areas.
Then the sheet of Japanese paper impose on the adhesive side of the baking parchment, so that all its edges were equal to the field and begin to smooth the paper hands to avoid air bubbles formed and both surfaces are well stuck together with each other (Japanese paper that is not crisp, better than a smooth mica paper). This operation is shown schematically in Fig. 32d.
Next parchment fused with Japanese paper, transferred face down on the mica paper, placed on the first plate (Fig. 32e). Fields of Japanese paper bend at 1-1,5 cm, smeared with glue, and stick to the tablet, as shown in Fig. 32zh (Japanese paper can be stuck to the tablet with strips of another paper).
RIS. 32 g, h, and
Well - tipping the fields of Japanese paper to the tablet;
W - tipping the tracing paper to the tablet;
and - stacking sequence of layers in the process of duplication of parchment on Japanese paper and pressing
On top of Japanese paper glued to the tablet sheet of tracing paper, sheet size exceeding Japanese paper (Fig. 32z). Due to the moisture in the lining sheet (Japanese paper), is moistened with tracing paper. At this point, its maximum stretch in the transverse direction, and after gluing the cloth cover.
After 15-20 minutes, dried and stretched vellum. Tension tracings obtained pressing, taking place simultaneously and a uniform drying in the next 24 hours. Unlike other cases, this rule is observed: a carbon copy should be lining sheet and the parchment-face to the mica paper, lying on the floor (Fig. 32 And).
After pressing and drying proceed to the next step - a duplication of the canvas. Usually canvas choose the most sleek, thin and tight. At working stretcher canvas stretched beforehand. On the inner side of the canvas point plot, the corresponding size of the duplicated parchment, and he applied a thin layer of a 10%fish glue at a temperature of about 30 ° C. After drying, the adhesive surface is treated with fine emery paper, bundles of threads cut with a scalpel. Reapplied to the canvas 10%fish glue.
Parchment with fields of Japanese paper cut from the tablet. Extra field (Japanese paper, along with the remnants of pastel edges) is cut so that the parchment after the duplication of the canvas was less than 3 mm on each side (or radius) than the size of the stretcher, on which, subsequently, the canvas must be stretched.
Again, place the parchment face down on the mica paper. Holding the corners, causing layer fleytsem 12%-tion of wheat paste, pre-softened, thinned and grated through a sieve, and gently laid the parchment face up (with mica paper) on canvas lining. Through mica paper with the front side of the parchment carefully smooths hands.
Sheets of tracing paper, larger than parchment, lightly moisten the outside (wet gauze), transferred onto the parchment and the maximum stretching and taping the edges of the canvas, using 12%wheat flour paste-tion. After the tension is covered with cloth. Thus, under the tracing paper and cloth is the process of drying and pressing at the same time, which should last for three days.
Then, still retained moisture, which gives the elasticity of the whole system (parchment paper on canvas), and promotes a good tension, duplicate parchment stretched on the main stretcher. Nails, screws or better yet, pressed (not pierce it!) In a pre-made holes with an awl. The extra edge of the canvas is cut, the remnants of the edge of the turnover is glued to the stretcher.
At present, reinforce edges with machine-gun (stapler, such as staples), with metal staples.
4.6. Art restoration
Art restoration pastels associated with the introduction of new, restoration, the pigment in place of damaged original paint layer.
When toning using pigment bed should be placed on an easel facing the light to see better color. You must have a set of pastels good quality with lots of shades of each tone.
There are the following types of damage the paint layer of pastels: blur, rubbing, talus, scratches and damage caused by defective or damaged foundations.
Blurring or even effacement pigment pastels - a frequent phenomenon, but the paint layer in this case nevosstanovim, even if there is a photo exhibit to injury.
Usually accompanied by blurring of the band blended pigment, they are formed as a result of the friction surface and distort what is left of the image. These bands can relieve, soften, break the tip of a thin hollow brush, pointed wooden sticks or eye scalpel.
Warning If greased individual lines in a drawing or sketch, performed pastel or mixed media, they can be restored only by the restoration council.
Restoring produce pastel chalk or powder with rastushki - depending on the manner in which written pastel.
The losses of the paint layer can be caused by breaks or loss of part of the framework, talus pounds. In such cases, inevitably rendering.
In the scree surface layer of pastel or abrasions are not allowed pasty pigment recovery, but merely summarizing the general tone.
Tinting produce a pastel by rastushovki. Friction pencil, pastel on paper are a fine powder (pollen), pastels, which is then transferred rastushkoy to the right place. If necessary, the tone by mixing several shades of pastel.
If the bed is made on a primed canvas, and there is a loss of pounds, pick up a pound, similar in composition to the author. To do this, prepare samples pounds, visually compare them with the author and choose the most suitable. The success of the tinting is largely dependent on the quality of bonding gaps and take stock of pounds.
In cases where there are pigmented zateki often use the method dusting transparent layer of pastel. Produce these rastushkoy, picked up the tone pastels.
Recipes soil for pastels, see: D. KIPLIK painting technique .- Moscow, Leningrad, 1950; Tyutyunik B. Materials and Techniques of Painting .- M.
4.7. Mounting and storage
Pastels on paper, cardboard, as well as pastels, gouache, watercolor on parchment to dig under glass with spacers. The height and width of the latter depends on the size of the exhibit, but must be not less than 3 mm.
Gaskets glued white paper and glued to the glass.
Keep pastels, strung on a stretcher, one must necessarily in a vertical position, as when stored in a horizontal position over time, the deformation (sometimes broken up a pound) on the Limits of the stretcher may also sagging glass, especially if the size of the exhibit is large.
Source: "the restoration of graphic" ВХНРЦ them. IE Grabar, M.1995
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Photo:
1.Ssedanie soil.
Unknown artist beginning of XIX century. "Portrait of a boy with a pipe. Fragment. Primed canvas, pastel. Artistic Pedagogical Museum of Toys, Sergiev Posad
2.Razryvy.
Unknown artist. "Portrait of an unknown. Fragment. Paper, pastel. Orel Regional Art Gallery
3.Porazhenie mold.
Unknown artist. "Portrait of Musin-Pushkin. (Fragment.) Parchment, pastel. Rybinsk Historical and Art Museum
4.Tot fragment after restoration
5.Razryvy on parchment.
Unknown artist. 1780-e gg. "Portrait of an unknown in military uniform."
The State Russian Museum
6.Deformatsiya parchment.
Unknown artist. "Portrait of M. Samarin. Parchment, watercolor. Historical-Architectural and Art Museum "New Jerusalem"
7.Tot same portrait after restoration
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8.Dublirovanie pastels, executed on parchment, on Japanese paper and canvas:
and - placing the lining of the mica paper on a hard plate;
B - Preparation of parchment to duplication;
a - Preparation of Japanese paper lining
9.g - application of the glue mixture on the turnover of parchment;
d - bonding parchment with Japanese paper and smoothing them through a pad of mica paper;
e - transfer duplicated parchment on the flatbed
10.zh - tipping the fields of Japanese paper to the tablet;
W - tipping the tracing paper to the tablet;
and - stacking sequence of layers in the process of duplication of parchment on Japanese paper and pressing
http://www.art-con.ru/?q=node/189
Restoration of graphic
1. Proceedings of graphic works
2. Investigation of the state of preservation of graphic works and preparation for the restoration
3. Restoration works of graphic art made on paper
4. Restoration works executed in pastels
5. Restoration of Japanese woodcuts
6. Restoration of Chinese Lubkov
7. Mounting works of graphic art
8. Packaging products of graphs
9. The premises, equipment, tools, materials
10. Safety rules during work with substances used in the restoration of graphic
http://www.art-con.ru/node/170
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