Wykorzystanie techniki infuzji do budowy podobrazi pomocniczych na przykładzie obrazu Aleksandra Kobzdeja Hors cadre Nr 53

Sławomir Adam Kamiński

DOI: http://dx.doi.org/10.12775/AUNC_ZiK.2015.021

Abstrakt


In the paper results of investigation of: technical structure, state of preservation, reasons of deterioration and the undertaken conservation restoration treatment of works of artist Alexander Kobzdej (1920-1972) will be presented. In the cycle Hors Cadre from 1971 Kobzdej redefined the function of the individual elements consisted in the traditional easel painting. As in his earlier work Wykorzystanie techniki infuzji do budowy podobrazi pomocniczych… 549 he incorporated the space into the construction of his paintings, yet in this case their technical structure is totally irrelevant to the traditional easel painting studio practice. The support is made of 3D shaped metal wire net, being core for the polyester-lignite laminate, made in a way enabling application of the water based medium paint layer on its top. For the reason of their structure, these – as it appeared very sensitive paintings – became a challenge for the conservator – restorer. Within the Ph.D. dissertation, M.A. thesis as well as through practical diploma works executed in our Department the research conducted on them let to propose guidelines of conservation care for these objects as well as conservation-restoration treatments. One of the main problem it appeared to be the unstable character of their supports, making safe storing, transport and exposition impossible. It was necessary to develop individually dedicated auxiliary supports for each work. Materials used were, among others: polycarbonates, aluminium wire nets, epoxy-polycarbonate laminates made by the infusion technique). The auxiliary supports made in different techniques let significantly slowing down the unwanted changes in the paintings structure, the methodology of the local repairs of the original support was developed, meaning filling in the losses of the polyester laminate and of extremely matt paint layer surface. Gained experience can be used during conservation of the other paintings of the cycle Hors Cadre (about seventy works), certain elements of former cycle (Clefts), and of other paintings in which analogical materials were used. 


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