Restoration has been and will continue to be, necessary to restore by art conservators. The possibility of dialogue between the original and its admirer. That is why the damaged work must be restored according to thoughtful. Intelligent, sensitive, and confidential methods of intervention. Although, the humble artwork cannot be subject to improvement by restoring it with very advanced means. However, It is important not to lose sight of a basic principle. If the painter, in choosing his technique, knows the rules of obsolescence of the materials used. He cannot consider his work completed when he sets his brushes. Physical and chemical, and the evolution of the drying process and patina over time. Thus, his work should be seen as “evolving” original work, and this should be respected. Because it necessarily recognizes the existence of transformations.
HOW DO WE REPAIR IT?
All the means and historical evidence are available at our disposal. Related to modern technologies, refer to a better understanding of the artwork.
However, there is an aesthetic approach to the work related to its technical and structural understanding. Due to the close relationship between the image and the complex synthesis of the materials used.
- Laboratory files are the basis for identifying problems and preparing a working method.
- The documents are based on the various images necessary to understand the artwork.
- Any pictures were taken in natural light, or accidental light
- imaging Infrared imaging
However, samples of image materials were taken to identify their compounds. Add valuable information that helps to choose the type of intervention.
The best course of action for the ideal restorer is to intervene as little as possible.
WHO IS THE RESTORER?
But, adding what must be added to the original materials with respect and knowledge of all the features of the artwork in question.
The restoration of artwork should not follow any of the intellectual methods. However, Peculiar to a particular era or a particular taste, this involves the threat of spoiling that work. Renovations that disrupt the style of the artwork displace it from its position. In terms of the era during which it was created.
- He is responsible at a high level.
- He received training in several fields.
A historian of art conservators, he has solid knowledge of the art of painting.
On the plastic level, his learning of academic art, in the simplest traditions of fine arts. But, the accompanying lessons are based on living models, the study of documents, and reproductions of paintings. Allow him to enter in harmony with the secrets of the works of past centuries.
The scientific training necessary to rehabilitate the restorer is not considered a barrier to his artistic sensitivity. But rather constitutes an incentive for his emancipation. This constantly evolving profession allows the restorer to employ this expressive sensitivity to address all issues. Respecting the subjective requirements of a work of art at risk, and extracting benefits. For better preservation over time.
Restoration is a difficult and noble profession that is not affected by the scourge of mediocrity. The problems of painting restoration have special features. That refutes the immediate naive tendency of the common people to believe that it is enough to hold the palette gracefully. To undo the damage to the artwork. And then we will be facing catastrophic “plastic surgery”.
Although the negative effects of time are inevitable, scientific progress is also an inevitable issue.
The restorer has to make more effort to move from one style to another to enrich his credit and imagination. Traveling between the folds of time allows him to penetrate the artist’s soul. That is, in short, he will be able to express himself as a craftsman with the most advanced scientific skill and knowledge. And it will be prepared to treat works of art with the utmost integrity and efficiency.
The restoration process, in many cases, is an absolute necessity to establish a dialogue between the artwork and its hobbies. The current good restoration process must be supported by the necessary scientific documents. In no case should the character of the artwork be changed during its “restoration”?
With the help of radiography, we were able to show the owners of the painting the condition of the artwork. And the possibility to give it back a look very close to what it was originally. We, therefore, proposed to carry out the work in two stages:
First, it was necessary to remove the large yellow deposits of varnish, all paints added, and mastic. And to strive for a picture as close as possible to the works of the nineteenth century.
As for the second phase, during which the places of injuries are filled, the lacerations are patched and the gaps are reshaped. It should be noted that some documents are the property of the owners of the artwork and may not be published, including radiographs.