15/10/2024
DNEVI KONSERVATORSTVA 2024
SLIKE NA STEKLU/REVERZNE SLIKE
Problemi in rešitve
Priljubljeni motivi na reverznih slikah na steklu so bile upodobitve svetnikov, blagoslovov, pa tudi upodobitve pokrajin in živali. Steklene plošče, uokvirjene z mehkim lesom, so bile v Mühlviertlu v Zgornji Avstriji in širše razširjene v drugi polovici 19. Stoletja. Šele v prvi polovici 20. stoletja so jih nadomestile cenejše umetniške grafike. Sredi 20. stoletja je bilo reverzno slikarstvo na steklu skoraj povsem pozabljeno. Tej stari tradiciji so se začeli ponovno posvečati posamezni slikarji po drugi svetovni vojni in jo tudi prenašali naprej. Sandl je mesto v Zgornji Avstriji preko katerega je pot, tovrstni likovni dediščini, utrlo tudi k nam.
Pri izdelavi reverznih steklenih slik se motiv najprej zrcalno prenese iz šablone na stekleno podlago. Na zadnjo stran stekla se nanese ospredje motiva. Perspektivni vtis ustvarja postopno nanašanje posameznih delov slike. Zadnji korak je nanos barve ozadja. Oljne barve so kromatične. Za številne slike je značilna upodobitev posamičnih cvetov ali cvetličnih aranžmajev v vogalih slike.
Vir: Deutsche und niederlandische Hinterglassmalerei, vom Mittelalter bis zur Renaissance
Izpostavljamo problematiko retuširanja/dopolnjevanja manjkajočih barvnih slojev na reverznih slikah na steklu. Na primeru omenjenih slik smo želeli izvesti poseg na način, ki ne posega v original. Uspešni smo bili z izvedbo digitalne retuše. Slika na steklu je del stalne postavitve v Koroškem pokrajinskem muzeju, ki je bila na novo postavljena v letošnjem letu in hrani več takšnih primerov ljudske umetnosti. Tehnologija poslikave in sestava stekla nista dovolj raziskana, zato so te rešitve le predlogi. Slednje tudi otežuje izvedbo konservatorsko-restavratorskih postopkov kot so na primer postopek čiščenja in utrjevanja.
Steklo s poslikavo smo skenirali in pridobljen sken uporabili za pripravo digitalne retuše v programu za urejanje fotografij. Pozorni smo bili na odstopanja barvnih tonov digitalne retuše natisnjene na papir. Uporabljen papir za natis digitalne retuše je bil komercialne proizvodnje. V razmislek je potrebno dodati uporabo brezkislinskih papirjev in morebiti tudi ustreznejši izbor tiskarskih barv. Natisnjeno digitalno retušo na papirju smo namestili za hrbet slike in tako vizualno dosegli zapolnitev manjkajočega barvnega polja. Pri tem smo sledili ustaljenim smernicam za izvedbo podložene retuše, iskali smo torej hladnejši in svetlejši ton. Naši rezultati so le začetki in želimo si, da bi izvedbo v prihodnje še nadgradili, tako z raziskavami na področju umetnostne zgodovine, naravoslovnih raziskav in digitizacije tovrstne likovne dediščine.
Zahvaljujemo se Koroški pokrajinski muzej za zaupanje in sodelovanje. Pravtako tudi podjetju Mikrografija d.o. o. za profesionalno skeniranje likovnih del.
Pripravili: Tadeja Trajkovski samozaposlena v kulturi konservatorka-restavratorka in avtorica videa Michelle Vidovič študentka magistrskega študija ALUO, obe članici društva Marmorinke, Novo mesto, Slovenija
PAINTINGS ON GLASS/REVERSE PAINTINGS
Problems and solutions
In the past, popular motifs on reverse paintings on glass were depictions of saints, blessings, as well as depictions of landscapes and animals. Glass panels framed with soft wood were widespread in Mühlviertel in Upper Austria and more widely in the second half of the 19th century. It was not until the first half of the 20th century that they were replaced by cheaper artistic graphics. In the middle of the 20th century, reverse painting on glass was almost completely forgotten. Individual painters began to dedicate themselves to this old tradition again after the Second World War and also passed it on. Sandl is a town in Upper Austria through which this kind of artistic heritage made its way to us.
When making reverse glass images, the motif is first mirror-transferred from the stencil to the glass base. The foreground of the motif is applied to the back of the glass. A perspective impression is created by the gradual application of individual parts of the image. The last step is to apply the background color. Oil paints are usually chromatic. Many paintings are characterized by the depiction of individual flowers or flower arrangements in the corners of the picture. Reverse painting on glass became known far beyond Austrian borders.
Vir: Deutsche und niederlandische Hinterglassmalerei, vom Mittelalter bis zur Renaissance
We highlight the issue of retouching/completion of missing color layers. In the case of the reverse image on the glass, we wanted to carry out the intervention in a way that does not interfere with the original. We were successful with digital retouching. In any case, these are just the beginning, as the painting technology itself and the composition of the glass have not been researched. The latter also complicates the implementation of conservation-restoration procedures, such as, for example, cleaning and consolidation.
We scanned the glass with the painting and used the obtained scan to prepare a digital retouch in a photo editing program. We paid attention to the deviations of the color tones of the digital retouch printed on paper. The paper used for digital retouch printing was commercially produced. The use of acid-free papers and possibly a more appropriate selection of printing colors should also be considered. We placed the printed digital retouch on the paper behind the back of the picture and thus visually achieved the filling of the missing color field. In doing so, we followed the established guidelines for performing a padded retouch, so we were looking for a cooler and lighter tone. Our results are just the beginning and we would like to build on the implementation in the future, both with research in the field of art history, natural science research and the digitization of this kind of artistic heritage.
Autors: Tadeja Trajkovski freelance konservator-restorer and Michelle Vidovič MA student at ALUO both members of Association for the Preservation of Marmorinka's Cultural Heritage, Novo mesto, Slovenia.
