Each collector has sought to get a picture with the best-preserved original painting - as the saying goes, "to fly, not sit ..." However, virtually all products with a solid biography that is stored in museums or private collections, more or less vulnerable to interference Restoration - single or multiple.
Rare works with today walking on the antiques market and avoided the hands of the restorer, - a happy exception only confirms the general rule: Restoration "Prevention" and "treatment" predetermined natural life works.
Читать дальше...
unrestored painting has a special property - it retains the completeness of "pristine" information about its original structure, which is valuable in itself and necessary for full identification of the picture - namely, to determine its authenticity in the expected time or claimed authorship.
Such work, with all their apparent unattractiveness, is highly "informative". Their artistic and scientific value (content) is determined by the degree of preservation of the original material structure - the nails, which is stuffed with a canvas on a frame to the paint layer, which keeps the stylistic marks of "their" time or a certain school of art, the specific features of an individual manner of writing or painting technology features specific artist.
Atributirovanie "uncomplicated" revisions restoration works - the timing of the establishment, school or author - is simpler and more believable than "signed" restorer of paintings. Unrestored piece precisely identified, because it contains much more information about his "firstborn" structure and, primarily, on the picturesque image. Other surviving evidence of "living" paintings, such, for example, as a particular framework or damage to the paint layer, the inscription on the back of the canvas or the stretcher, seals and stamps, etc., also provide valuable information about life pictures, are becoming an essential component of expert studies. Therefore, we can talk about, let's say, "ideal" preservation of unrestored pictures of her this state, when it contains only traces of the natural aging - "the patina of time", a certificate of age picture.
The question of restoration is closely related to the problem of authenticity of works, namely - with the preservation of its original characteristics, which carry information about the creation. After restoration work loses some of its former "biography". For example, it may, at the request of the owner or without his knowledge, the loss or gain of the author or "taking shape" in the desired time.
The fact that restoration intervention has another aspect. When it comes to paintings from the "name" or "age", respectively, with a large museum or antique weight, the fact that restoration can be considered as a kind of indirect confirmation of their authenticity.
Restoration intervention - undesirable last resort. However, in many cases work without it would not be appropriate artistic value, or simply destroyed. Preserving the life of the painting, the restorer should interfere in its original structure. Volume restoration intervention determined by the minimum necessary and sufficient measures to prolong the life of things, and this, of course, leads to changes in its physical structure. The viewer such interference, such as strengthening the framework or the paint layer pictures may not even be seen.
Restoration. In practice, the restoration is important, for what purpose restorer oriented: to preserve the authenticity of the product or give it a catchy kind of exposure. In the latter case, the product loses a lot.
In the professional environment has sustained the view that the restoration approaches can be divided into two types of action - scientific and commercial restoration, "the ideal and actual" (in Brockhaus).
The so-called "scientific" restoration is performed according Restoration Plan, drawn up on the basis of preliminary studies. Such restoration is characterized by minimal interference in the structure of the work, especially in the image, which is not always immediately reveals itself visually, and which, ideally, should be excluded from the process of restoration. "Commercial" for the restoration of the eyes more noticeable. Its main task - to make the work attractive, "trademark" look. Usually it is characterized by pervasive ponovitelskimi records, giving the painting "fresh" look.
But back to the main topic. How do I know whether the picture in the restoration or not? Are there any signs of restoration actions and what their scope? What is their nature and extent to which the restoration include changing the face of the author's original painting? To what extent these variations are acceptable, for example, the probable owner? And so on.
Assume the picture offered "as is" without a "legend", and the potential owner, before you decide to buy it, finds it necessary to independently verify the "virgin" thing.
Search "trail restoration" involves different types of research. Their choice is determined by the complexity of the restoration "CODED" object. There are two ways to identify the presence or absence, extent and nature of the restoration intervention - a visual inspection of the work and its technological research with the use of special tools (microscope, ultraviolet, infrared lamps), and the ways (rentgenografirovaniya, chemical analysis). The first method - the most affordable and fast. If it is implemented consistently and systematically, the results may be sufficient to identify the fact of restoration.
Restoration may involve all components of the material structure of a work - based (material, which holds the product), primer (preparatory layer, which bears the paint layer), the paint layer (the painting itself), the covering layer (lacquer or other fiksativnuyu film, strengthen and protect painting).
Basis. On examination, the product should first pay attention to the stretcher, turnover and edge basis.
New sub-frame restoration - a direct reference to the restoration, meaning that the canvas pull, and the image is likely to wash and cover restoration varnish.
Another obvious fact: on the back of the picture may be a patch, which are buried discontinuities basis.
The picture may be duplicated, that is reinforced on a new basis for the preservation of the paint layer. In this case, well visible clean canvas lining, usually a larger weave than the author. It occurs, however, not only modern doubling - this process operation may have known "age", that is true of the nineteenth, and the eighteenth century. In this case, the darkened with pollution turnover pattern can sometimes be misleading, since the transfer to a new framework is not always visually obvious and not immediately obvious. To avoid mistakes, we must find the boundary joint author of the canvas and lining base. If you survived the edge of the picture (part of the canvas along the perimeter of the picture, designed to wrap on the planks and building on the stretcher), this joint is well seen. If the edges are not available, a joint harder to find.
Sometimes there is a double-doubling, as a rule, it is observed on the "old" things with the old doubling. Her "identify" quite difficult.
Often duplicated only edge painting - in this case the edge reinforced lining on the strip foundations; it becomes easier and more reliable packing canvas on a frame. Lining basis, up to the edge, usually well visible.
Rarely, but still found the author's doubling edges, which is very difficult to recognize. However, it is not the fact of restoration.
The painting, executed on a tree, with the restoration can be enhanced tiling - a wooden grille to prevent or correct the deformation (bending) basis. Tiling performs essentially the same function as the pins in the icons.
Inspection of traffic can reveal the presence of the restoration extensions, which is recognized by the seam of the canvas, or stitching together of two wooden frames (they may have a different texture). Extensions not only changes the format works, but sometimes its composition.
Absence or unevenly cut edges - a clear indication of the fact of restoration.
It happens that at the ends of the stretcher bars instead of the usual edge with the ground wrapped part of the picturesque image. This indicates that the edges were cut off (can be cut off and part of the image) and ends on the strip was wrapped already painting. Thus, can be changed and the original size and format of the work.
In unrestored painting on the edges of the canvas, wrapped on a frame, no extra holes from nails or brackets, which he fastened to the stretcher. If the "extra" holes is, they should coincide with the holes on a stretcher. Do not over tighten on the edges of the canvas you can see the "tightening", a garland of tension - an undulating curved threads of the canvas, resulting from sagging of the canvas between the nails.
Grunt. The soil is usually seen only on the edges of the picture. If there is a difference in soil color: white - in some areas of the painting (mostly on the perimeter), and gray - as a result of pollution, with rubbing and losses (on edges) - is a direct indication of the restoration actions. This so-called podgruntovka, replenishes lost the original ground and serves for the application of "restoration" of painting instead of destroyed.
The paint layer. Identification of restoration actions in a colorful layer, the main component of the paintings, the most complex.
Inspection work is desirable to carry out using strong artificial light source and to vary the angle of illumination, the most optimal - direct and oblique light at an angle of 30-45 degrees to the colorful surface. Or in good daylight.
Unrestored picture of the "age" is distinguished by its appearance. First, it is visible, more or less significant surface contamination.
In the "commercial" restored, that is totally prescribed pattern, first of all be a glaring inconsistency "fresh" paintings and dirt, dilapidation turnover of the canvas, on the edges of dirt and remnants of the old (and sometimes different in color), pigment on them other than as "fresh "painting.
With such a total "restoration of" the existence of the underlying (original) images can be set by the relief of his breaking and krakelyurnoy grid - it usually is easily visible beneath the paint. In other words, the structure of the underlying topography original painting does not coincide with the apparent restoration. Moreover, in the gaps of the upper paint layer and the edges are always visible remnants of the underlying layer of paint, some "hard" (which depends on the degree of drying of the binder in a colorful pasta), and sometimes different in color.
If the painting was restored and the more delicate areas, the signs ponovleny harder to identify. It is easy to just assume that there is tonirovok field patches on the back of the picture - the image of these areas, as a rule, toning. But not always.
Tinting in other parts of the image is not associated with injuries basis, to identify difficult. The complexity of their search depends on the magnitude of their area, and the nature of processing colorful surface - either a glaze work, or work with opaque layers.
From the main image they may differ somewhat high relief, the other rich colors and different tone, more hiding (covering the ability to paint), a dispersion (the degree of grinding pigments) colorful pasta, etc. In addition, the new (Restoration) colorful layers stand out because they cover cracelures and lacunae (loss) of the original paint layer, and sometimes - the threads of the canvas base.
Toning the perimeter of the image recognizable as yet because their paint may "go" for the image, and, falling on the edge, overlap the pollution and the old pigment on them.
But full visual exploration of the paint layer works for its restoration is only possible using a microscope. This will recognize not only toning, but also from various records, to determine their scope and nature, which may result in changing the details and the plot works.
Germinal layer. Features of the covering layer (varnish film) can also be an indication of the fact of restoration. After surgery to remove the lacquer with clear, not particularly skilled, lacquer film acquires a "undulating" relief because of its uneven removal. In some parts of lacquer film utonshaetsya less on the other - more. Something similar happens when the new coating varnish, for example, after washing the paint layer. The structure of the covering layer is easily visible in oblique light.
Signed. Author's signature on the product - an important part of documenting authorship, provided that she, like a work - is authentic. But special attention should be paid to its appearance and condition.
In the subscription picture of the autograph may lie "in test" of the paint layer, in poluprosohshih colorful layers or be caused by "dry" (on prosohshey colorful surface). Signed, simultaneous or painting made with a small time gap, bears all the signs of aging of the paint layer pictures - scrapes, breaks cracelures loss of individual letters as a result of fallout of paint.
Often, the signature may be damaged by the restorer, such as by washing the paint layer. Paint the letters of the signature can "numb" in cracelures and create the illusion of a restoration "novodelnosti, simulating author signature. It happens that the signature is washed off with clean-up.
Skills vision. Demanding collector must learn to see the work and learn this time. Often confused, signified by the words "look" and "see". If the "look" - it is only a process of visual "contact" with the product, then "see" - is the analytical result of the process "look", implying some specific judgments about the object.
The ability to "see" the picture, including recognizing signs of restoration interventions, does not come immediately, and requires skill, if you will - habits.
"Nasmatrivat" things are best in museum collections, where their authenticity is practically guaranteed. The vision of the picture begins with examining its colorful surface: what is the appearance of the paint layer, that is how it looks - the new, "fresh" or it contains any traces of aging. Are there any traces of surface contamination and how they are significant.
Are there any areas of injuries - scrapes, scratches, paint loss and soil - and what is their character: they are numerous, varied, appeared at different times, etc. "Sequins" or a matte surface has a picturesque image.
Attention is drawn to the relief of the paint layers: liquid or paste-like layers formed a picturesque image, does the painting sections of the open ground. If they are, what their nature - the soil is dense, leveling the texture of the canvas or the structure of fibers are well read. What materials work performed - canvas, wood, plywood, cardboard, etc.
By the product can address many other issues, but are, in general, not this. The main thing - the constant practice of "communication" with the pictures.
full version of the article with all the pictures you find in the magazine "Antiques, art and collectibles" № 7-8 (19), 2004
Эти 6 пользователя(ей) сказали Спасибо nikola за это полезное сообщение:
The so-called "scientific" restoration is performed according Restoration Plan, drawn up on the basis of preliminary studies. Such restoration is characterized by minimal interference in the structure of the work, especially in the image, which is not always immediately reveals itself visually, and which, ideally, should be excluded from the process of restoration. "Commercial" for the restoration of the eyes more noticeable. Its main task - to make the work attractive, "trademark" look. Usually it is characterized by pervasive ponovitelskimi records, giving the painting "fresh" look.
Sovershenno ne soglasen!
V real'nosti kommercheskaia restavratsiia opredeliaetsia, chasche vsego tsenoi.
Klient ne hochet platit 'za restavratsionnyi plan, fotografiiu, issledovaniia i prochee. Eto privilegiia museev na gosudarstvennom obespechenii.
Klientt chasche vsego ne hochet, chto by kto-nibud 'daze znal o restavratsii.
Tovarnyi vid, dobavlenie figur, ponovlenie, eto vsio v proshlom, let 50 i bolee nazad.
Esli kommercheskaia restavratsiia zametna dlia glaza - eto plohaia restavratsiia. A esli "nauchnaia" restavratsiia ne zametna dlia glaza, to eto ochen 'ploho. Ona, po opredeleniiu, dolzna otlichat'sia ot originala. Chasto ispol'zuiutsia kraski "na pol tona" otlichaiuschiesia ot originala, ili kak v restavratsii ikon - prosto ukrepliaetsia povrezdionnyi uchastok i ne propisyvaetsia, a prosto toniruetsia.
Mozno prodolzat 'dal'she, no osnovnye voprosy - kto platit den'gi, kto hoziain, kakie tseli restavratsii ili konservatsii.
09.04.2009, 17:18
Was the picture in the restoration?
Линейный вид
Похожие темы