RESTORATION OF WORKS OF ART
to restauraciòn of works of art it is very varied and complex. Every piece needs a very special and individualized atenciòn, according to the deterioration that he suffers, the technical employee or the material with which it was realized.
The restorer has to do an accurate diagnosis and choose appropriately the treatment that must always apply with the maximum prudence and respect for the original work.
In this secciòn we do to ourselves echo of the informaciòn that the professionals of the restauraciòn facilitate to us and we compile the linkage where to find the documentaciòn that, generously, they spread through the network.
In numerous occasions you present yourself, so much professional restorers as keen, they attack tasks of conservation and restoration with products, which they have recommended or read them in some manual, at the expense of the danger that they contain, not only sometimes for the work of art, but also for the proper restorer.
To know the toxicity of the products that manage becomes indispensable for our safety and of the piece.
CRITERIA OF PERFORMANCE
Perhaps one of the most excellent aspects of the restorer's profession, or as in any other one, there are his criteria of behavior or performance.
These criteria have changed along the history fruit of the appreciation of the works of art as the different historical periods, the classic antiquity, the middle age, the renaissance... up to coming to our times.
Nowadays there are still big debates and polemics I half-close to this topic, since although there are a few certain established rules of intervention, his extrapolation to all the works of art of the world, it is complex for not saying impossibly.
PAINTING OF TRESTLE
The most frequent alterations that spoil the works and as for the trestle painting, both in linen and in table are:
Tears, descamaciones, loss of the pictorial layer, alteration of the colors because of the contamination or ultraviolet radiation, heat... weakening of the support, superficial dirt, alteration of the protection varnish for oxidation...
The most common Restoration procedures are:
Laying of patches of characteristics similar to the cloths or support of original wood.
When there exist losses of support and weakening of the fibres of the same one, one proceeds to the entelado of the painting on a cloth of linen, linen... like that one prevents the pictorial layer from ending up disappearing.
Lagoons reinstatement in the pictorial layer to return the esthetic reading of the work (técnicas:tratteggio, rigattino...)
Regeneration and cleanliness of the protection varnish if it is oxidized or opaque that does that the colors turn out to be forbidden and extinguished.
Anyhow it is necessary to treat every work of an only and particular way, since the same procedures are not applicable for different cases, obviously.
The moisture provokes many of the most dangerous considered alterations that this type of artistic declarations suffers.
It can be caused for numerous motives, being the most common the moisture for capillarity, condensation and infiltration. And so, the appearance of saline efflorescences in the pictorial layer due to the propulsion of the soluble salt or the loss of adherence of the constitutive layers with the consequent movement of the same ones, has to take urgent solutions to avoid a serious deterioration in the plasters.
On the other hand the environmental contamination affects negatively to the pictorial layer, modifying the chromatic aspect and debilitating the stability of the materials due to chemical reactions.
At present it is causing ravages in the whole world patrimony in major measurement and compared to any other agent of degradation of the history of the times.
The superficial dirts, you stain, repaint, the thermal and mechanical expansions due to shocks for the movement of the structure are a part of the rest of habitual alterations in the wall painting which more common hándicap is to be in places of difficult accessibility frequently.
The substantial disadvantage which we meet in the sculpture, as tells the technical staff of "Classic", it is that in most cases it is realized in wood, the wood is alive and is sensitive to the changes of moisture and temperature. For it it never stops moving and these movements affect to the top layers, this is: the policromía.
Along with this serious problem, there exists the danger of which the piece has been infected by insects xilófagos (that feed on wood) and the loss of integrity and consolidation of the work, it is potentially possible. To stop these degradations, it is necessary to do an exhaustive control of the piece and to proceed to a disinfection well for fumigation or impregnation and to try to isolate the work of the moisture or excessive environmental dryness. With the examination in RX there are discovered possible internal damages, the unions, quality of the size, nails, etc,
There exist such numerous degradations like the loss of constitutive parts of the work that is necessary to restore (fingers of hands, ears...), descamaciones, superficial dirts.... that obviously it is necessary to treat with the maximum rigor.
CARE OF A WORK
If he has one or several works, be a good minder checking his collection regularly and taking advice when he warns some aberration in her.
The CREA restorers exhibit een his website an interesting and instructive relation of factors that it is necessary to bear in mind to avoid damages.