{"id":618,"date":"2025-01-17T15:56:48","date_gmt":"2025-01-17T14:56:48","guid":{"rendered":"https:\/\/www.restful.cz\/?p=618"},"modified":"2026-09-02T19:54:11","modified_gmt":"2026-09-02T17:54:11","slug":"paul-moreelse-madonna","status":"publish","type":"post","link":"https:\/\/www.restful.cz\/cs\/paul-moreelse-madonna\/","title":{"rendered":"Paul Moreelse"},"content":{"rendered":"

Madonna<\/h2>\n\n\n\n
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Technika:<\/strong> olejomalba na pl\u00e1tn\u011b
Rozm\u011bry:<\/strong> 77 cm x 64 cm
Datace:<\/strong> Early 17th century<\/p>\n\n\n\n

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Stav d\u00edla p\u0159ed restaurov\u00e1n\u00edm<\/strong><\/h2>\n\n\n\n

Rubov\u00e1 strana pl\u00e1tna byla v minulosti zpevn\u011bna, pravd\u011bpodobn\u011b pomoc\u00ed voskovo-prysky\u0159i\u010dn\u00e9ho lepidla. Pod\u00e9l okraj\u016f pl\u00e1tno p\u0159ekr\u00fdv\u00e1 degradovan\u00e1 pap\u00edrov\u00e1 lepic\u00ed p\u00e1ska, kter\u00e1 odhaluje odd\u011blov\u00e1n\u00ed p\u016fvodn\u00ed tkaniny od zpev\u0148uj\u00edc\u00ed vrstvy. P\u016fvodn\u00ed pl\u00e1tno je k\u0159ehk\u00e9 a fragiln\u00ed, m\u00edsty chyb\u00ed, je popraskan\u00e9 nebo uvoln\u011bn\u00e9. Obraz je napnut na obd\u00e9ln\u00edkov\u00e9m nap\u00ednac\u00edm r\u00e1mu s kl\u00ednky. Rubov\u00e1 strana je pokryta silnou vrstvou povrchov\u00fdch ne\u010distot.<\/p>\n\n\n\n

V horn\u00ed \u010d\u00e1sti obrazu jsou patrn\u00e9 skvrny a kapky vosku, zat\u00edmco ve spodn\u00ed \u010d\u00e1sti se nach\u00e1zej\u00ed stopy po b\u00edl\u00e9m n\u00e1t\u011bru. Dekorativn\u00ed r\u00e1m je nov\u011bj\u0161\u00edho data; jeho sejmut\u00ed odhaluje v\u00fdrazn\u00e9 deformace nap\u00ednac\u00edho r\u00e1mu.<\/p>\n\n\n\n

Vrstva malby vykazuje praskliny a m\u00edsty je uvoln\u011bn\u00e1, s drobn\u00fdmi ztr\u00e1tami malby. P\u0159i UV osv\u011btlen\u00ed jsou pod degradovan\u00fdm a za\u017eloutl\u00fdm lakem patrn\u00e9 lok\u00e1ln\u00ed retu\u0161e, kter\u00e9 pozm\u011b\u0148uj\u00ed p\u016fvodn\u00ed barevn\u00e9 pod\u00e1n\u00ed. Pod\u00e9l okraj\u016f obrazu, kter\u00e9 byly d\u0159\u00edve zakryty dekorativn\u00edm r\u00e1mem, se nach\u00e1z\u00ed m\u00e9n\u011b vrstev laku, co\u017e se projevuje v\u00fdraznou namodralou fluorescenc\u00ed pod UV sv\u011btlem.<\/p>\n\n\n\n

Na povrchu jsou d\u00e1le patrn\u00e9 skvrny, mu\u0161incov\u00e9 te\u010dky a dal\u0161\u00ed usazen\u00e9 ne\u010distoty. Ob\u011b strany obrazu jsou pokryty vrstvou povrchov\u00fdch ne\u010distot.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Stav d\u00edla po restaurov\u00e1n\u00ed<\/strong><\/h2>\n\n\n\n

The reverse showed significant surface dirt, and the old lining canvas was found to be detaching at the edges and no longer serving its purpose. It was therefore removed and replaced. Tears in the support were mended and missing sections of canvas replaced using artificially aged linen matching the weave and density of the original, secured with an adhesive powder. The reinforced areas were further secured with patches of natural silk. The reverse was then prepared and impregnated with a synthetic conservation adhesive. A new lining canvas, pre-washed and pressed, was prepared and the painting was consolidated and lined using a vacuum hot table.<\/p>\n\n\n\n

Solubility tests were carried out to determine the appropriate solvent mixture for the degraded varnish layers, and the varnish was progressively thinned. At least two varnish layers with differing fluorescence were identified. Beneath the upper, yellowed varnish, a second layer with a bluish fluorescence and waxy content was revealed. This layer had previously been selectively tinted to visually unify old overpaint in the corners with the original blue drapery, giving the drapery an unintended greenish tone.<\/p>\n\n\n\n

Examination revealed that the painting, though mounted on a rectangular stretcher, had originally been conceived and painted as an oval composition, with the corners beyond the painted area, historically concealed beneath a decorative frame. At a later date, the work was fitted with a different, rectangular decorative frame, and the corners, originally left at the ground layer only, were overpainted. An architectural niche was added framing the Madonna and Child above, and blue drapery and background were added below. The whole painting was then coated with a tinted varnish for visual unification. However, as this varnish layer was found to compromise the original colour and visual effect, it was removed or locally thinned. The overpaint in the upper corners was nonetheless retained, in order to avoid a significant change to the painting’s current appearance, given its present rectangular frame.<\/p>\n\n\n\n

Following varnish thinning and removal of unsuitable overpaint and retouching, the painting was isolated with a varnish layer. Losses in the paint layer were filled with a chalk-glue putty and locally isolated. The painting was then re-stretched onto a cleaned and adjusted stretcher fitted with spacer strips. Retouching was carried out in watercolour, followed by a further isolating layer and final retouching in reversible resin colours. A final varnish layer was applied by spray, in two coats.<\/p>\n\n\n\n

The decorative frame was cleaned of surface dirt and dust. A protective velvet strip was applied to the frame’s rabbet, and the painting was fitted into the frame.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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