| Sažetak | U diplomskom radu opisan je konzervatorsko-restauratorski zahvat na maketi za skulpturu “Prijedlozi prostoru” iz istoimenog ciklusa i maketi za skulpturu ženskog akta “Skakačica” umjetnika Vaska Lipovca. Upotreba takozvanih „neslikarskih“ boja i činjenica kako se prva maketa sastoji od monokromatski oslikanih elemenata, uvelike je utjecala na odabir metoda i materijala korištenih u konzervatorsko-restauratorskom postupku. U svrhu boljeg razumijevanja čitavog konteksta restauriranog predmeta, ovaj diplomski rad obrađuje i kratki povijesni pregled boja i premaza često korištenih tijekom dvadesetog stoljeća te Lipovčeva razmišljanja o stvaralačkom procesu, značenju boja i materijala, samoj skulpturi u javnom prostoru te naposljetku temu restauriranja i konzerviranja monokromatskih površina i maketa. Maketa za skulpturu “Prijedlozi prostoru” sastoji se od osam elemenata modularnog tipa koje je Lipovac 1974. godine izradio od drva i obojao crvenom i plavom bojom. Konzervatorsko- restauratorski postupak na maketi za skulpturu “Prijedlozi prostoru” uključivao je sve uobičajene faze; istraživanje povijesti makete, analize sastava materijala i tehnologije izrade, stabilizaciju bojanih slojeva, čišćenje, rekonstrukciju nosioca, preparacije i oslika. FTIR spektroskopijom analizirani su uzorci dvije boje kojima je skulptura obojana – crvena i modro plava. Analizom je utvrđena alkidna smola kao vezivo u modroj boji, dok je vezivo u crvenoj boji kombinacija alkida i nitroceluloze. Podljepljivanje bojanog sloja izvedeno je Lascauxovim medijem za konsolidaciju kako bi se stabilizirala odignuća boje te se postigla napeta forma površine što sličnija izvornom izgledu makete. Nakon mjerenja pH vrijednosti i različitih testiranja u svrhu uklanjanja nečistoća s površine bojanog sloja, kao najučinkovitije sredstvo se pokazao Pemulen gel pH 7. Za uklanjanja naknadnih obojenja plavom i bijelom bojom upotrebljen je Pemulen gel s dodatkom 10% etilnog alkohola i benzil alkohola (u omjeru 1:1). Za rekonstrukciju velike pukotine na donjem elementu odnosno bazi skulpture korišteni su štapići balse ljepljeni Lascaux medijem za konsolidaciju. Na mjesta gdje je nedostajao bojani sloj najprije je nanesen podložni sloj Mowiol kita. Kit je načinjen od 10% otopine Mowiola u destiliranoj vodi i ugušćen bolonjskom kredom (1:2). Premda se Mowiol kit pokazao kao dobar odabir za rekonstrukciju drvenog nosioca na gornjim elementima, na samom je postamentu, uslijed naglih promjena temperature i vlage i velike površine oštećenja došlo je do raspucavanja. Bilo je nužno napraviti dodatne probe kojima se utvrdilo potrebno ponavljanje postupka akrilnim kitom s dodatkom pigmenata. Nakon niza istraživanja osmišljen je koncept rekonstrukcije zahtjevnog monokromatskog bojanog sloja za sva oštećenja. Napravljen je velik broj testova kako bi retuširane zone što više nalikovale okolnim područjima po sjajnosti, teksturi i tonu. Retuš je izveden postepeno, prateći izvornu stratigrafiju, ali ne nužno i materijale koji su izvorno korišteni za bojanje makete. Utvrđeno je da bez prethodnog podslika bojanih površina nije moguće postići odgovarajuće tonske vrijednosti izvorne polikromije te se u konačnici koristio crvenkasto tonirani podslik gvaš bojama. Na podslik je nanesena 10% otopina Regalreza u Shellsolu D40 kao izolacijski sloj. U svrhu postizanja odgovarajućeg tona crvene i plave boje korišteno je nekoliko nijansi akrilne Polycolor boje brenda Maimeri. Za retuširanje postamenta koji je površinski imao najveće oštećenje korišten je zračni kist. Uporabom navedenog alata postignuta je ujednačena i zaglađena površina bez tragova koji bi nastali upotrebom klasičnog kista. Za lokalno izjednačavanje sjajnosti retuša s okolnom izvornom bojanom površinom makete na crvenoj boji korišten je medij za sjaj “Solo Goya Acrylic Medium Pouring Fluid”, a na manjim zonama modro - plave boje korišten je Regalrez 1094 otopljen u Shellsolu D40 s dodatkom Cosmoloida H80 i Tinuvina 292. Konzervatorsko-restauratorski postupak na maketi za skulpturu “Skakačica'' bio je znatno jednostavniji i trajao je u kraće od zahvata na prethodno spomenutoj maketi “Prijedlozi prostoru”. Napravljeno je CT snimanje, analiza sastava materijala, čišćenje, saniranje pukotina na rukama te rekonstrukcija preparacije i oslika. Skulptura se sastoji od ženskog akta u sugeriranom pokretu skoka u more i postamenta koji ujedno implicira dasku za skakanje. “Skakačica'' je u potpunosti obojena bijelom bojom, a kosa, grudi i kupaći kostim obojeni su lazurno ružičastom i tirkizno plavom bojom koja je također usklađena s tirkizno - plavim postamentom. Nakon provedene FTIR spektroskopije potvrđeno je korištenje veziva na bazi akrila. Najveće oštećenje nalazilo se na području ruku – pukotine koje su nastale uslijed pada. Ruke su odvojene od trupa “Skakačice” i ponovno spojene u cjelinu pomoću Lascaux medija za konsolidaciju. Slikani sloj je lokalno suho očišćen gumicom na mjestima koja su bila onečišćena otiscima prstiju. Za rekonstrukciju drvenog nosioca korištena su dva kita: prvi je na bazi Lascaux medija za konsolidaciju s dodatkom piljevine i bolonjske krede, a drugi - finiji, sastojao se od 10% otopine Mowiola u destiliranoj vodi i ugušćen je bolonjskom kredom (1:2). Retuš je bilo potrebno izvesti lokalno, na području spoja ruku, pri čemu su akvarel boje nanesene kistom u smjeru slikanja s jasno vidljivim potezima. |
| Sažetak (engleski) | 3 vodi i ugušćen je bolonjskom kredom (1:2). Retuš je bilo potrebno izvesti lokalno, na području spoja ruku, pri čemu su akvarel boje nanesene kistom u smjeru slikanja s jasno vidljivim potezima. SUMMARY In this master thesis conservation treatment was carried out on the model for the sculpture "Prijedlozi prostoru" (“Space suggestions”) from the cycle with same name and on the model for a female nude “Skakačica”("Jumper") by the artist Vasko Lipovac. The use of so-called "non- artistic" colors and the fact that the first model consists of monochromatically painted elements, greatly influenced the choice of methods and materials used in the conservation treatment. In order to better understand the whole context of the conserved object, this thesis deals with a brief historical overview of paints and coatings often used during the twentieth century as well as with Lipovac's thoughts on the creative process, the meaning of selected colors and materials, sculptures in public spaces and finally, the conservation of monochromatic surfaces and models. The model for the sculpture "Prijedlozi prostoru" consists of eight elements of the modular type, which Lipovac created in wood in 1974 and painted red and blue. The conservation treatments on the model for the sculpture “Prijedlozi prostoru” included all the usual phases; research of the history of the model, (composition analysis of materials and manufacturing technology, stabilization of paint layers, cleaning, reconstruction of the carrier, putty and paint layer. Samples of two paints with which the sculpture was painted - red and blue, were analyzed using FTIR spectroscopy . The analysis determined the alkyd resin as a binder in blue, while the binder in red is a combination of alkyd and nitrocellulose. Consolidation of the paint layer was performed with Lascaux consolidation medium in order to stabilize the paint flaking and achieve an even surface as similar as possible to the original surface appearance of the model. After measuring the pH and conducting various tests for the purpose of removing impurities from the surface of the painted layer, Pemulen gel pH 7 proved to be the most effective agent. For the reconstruction of a large crack on the lower element 4 (the base of the sculpture), balsa sticks were glued with Lascaux consolidation medium. In places where the ground and paint layers were missing, a Mowiol putty was applied. It's a putty made from a 10% solution of Mowiol in distilled water and thickened with Bologna chalk (1: 2). Although the Mowiol putty proved to be suitable for the reconstruction of the missing zones on the upper elements, on the pedestal itself, due to temperature and humidity fluctuations and the large area of damage, cracking occurred. It was necessary to make additional tests to determine the best material for the reconstruction of final layers. It was achieved with acrylic putty with addition of pigments. After a series of tests, the concept of reconstruction of a demanding monochromatic painted layer was devised. A large number of tests were performed to make the retouched zones as similar as possible to the original surrounding areas in brightness, texture and tone. The retouching was performed gradually, following the original stratigraphy, but not necessarily the materials originally used to color the model. It was concluded that without a previous underpainting of painted surfaces, it is not possible to achieve the appropriate nuance of the original polychromy, and before retouching a reddish- toned underpainting with gouache paints was used. A 10% solution of Regalrez in Shellsol D40 was applied to the underpainting as isolation. In order to achieve the appropriate tone of red and blue, several shades of acrylic Polycolor paints from the brand Maimeri were used. An airbrush was used to retouch the pedestal that had the most surface damage. By using the mentioned tool, a uniform and smooth surface was achieved, without traces that would be created by using a classic brush. Solo Goya Acrylic Medium Pouring Fluid was used to locally equalize the gloss of the retouching with the surrounding original painted surface of the model, and Regalrez 1094 dissolved in Shellsol D40 with Cosmoloid H80 and Tinuvin was used on smaller blue zones. The conservation procedure on the model for the sculpture "Skakačica” was much simpler and took less time than conservation of the previously mentioned model "Prijedlozi prostoru". CT imaging, analysis of the material composition, cleaning, repairing of cracks on the hands, reconstruction of the ground and paint layer were performed. The sculpture consists of a female nude in a suggested movement of jumping into the sea and a pedestal that implies a jumping board. "Skakačica" is completely painted white, the hair, chest and bathing suit are painted azure pink and turquoise blue, which is also harmonized with the turquoise-blue pedestal. FTIR spectroscopy confirmed the use of acrylic-based binders . The biggest damage was in the area of the joint of hands with the body - cracks caused by falling. The arms were separated and reconnected in a whole using Lascaux consolidation medium. The painted layer was locally dry cleaned with a conservation eraser in placeswith fingerprints dirt. Two putties were used for the reconstruction of the wooden girder: the first was based on Lascaux consolidation medium with the addition of sawdust and Bologna chalk, and the second - finer, consisting of 10% solution of Mowiol in distilled water and thickened with Bologna chalk (1:2). The retouching had to be performed locally, in the area of the joint of the hands, where the watercolor paints were applied with a brush in the direction of the original paint layer with clearly visible strokes. |
