Filling with Beva® Artist Gesso-P laminate: implementation on a painting by Jacob Van Ruysdael
Abstract
The article addresses the methodology developed for a complex case of filling on a Jacob Van Ruysdael (1628–1682) painting. The oil on canvas initially presented various losses with characteristic topography but also highly irregular contours that made them difficult to texturize. The system developed is based on the use of a pre-printed laminate with a TNT polyester support and a Beva® Artist Gesso-P layer moulded using a mini low-pressure table. Complete adjustment to the lacunae outline has been obtained by direct scanning; subsequently, the outline has been printed in a 1: 1 scale on the laminate support. Through this process, the filling is perfectly integrated into the original topography. As well, direct intervention is reduced and its reversibility is guaranteed. Finally, this methodological variant makes it possible to obtain optimal replication fidelity and greater integration in the case of textured and complex contour lacunae.
Downloads
References
BRITES, F., CARLYLE, L., MARQUES, R. (2016). “Hand Building a Low Profile Textured Fill for a Paint/Ground Loss”. En RECH 3. III International Meeting on Retouching of Cultural Heritage Postprints, HENRIQUES, F. , BAILÃO, A., BIDARRA, A., BORDALO, R. Y SILVA, F. (eds.) Porto: Escola Artística e Profissional Árvore, 73-82.
CARLYLE, L., MARQUES, R., CARDOSO, I.P. Y BABO, S. (2014). “Creating a Textured Replacement Strip for the Missing Lower Portion of an Oil Portrait: Problem Solving and Practical Solutions”. En The Picture Restorer, vol. 45, 44-52.
DOWN, J. L., MACDONALD, M.A., TÉTREAULT, J., Y WILLIAMS, R.S. (1996). “Adhesive testing at the Canadian Conservation Institute: An evaluation of selected poly(vinyl acetate) and acrylic adhesives”. En Studies in Conservation, vol. 41(1), 19–44. https://doi.org/10.2307/1506550
FOLKES, S. Y REDDINGTON, S. (2010), “Texturing Fills using a silicone mould”. En Mixing and Matching. ELLISON, R. SMITHEN, P. TURNBULL, R. (ed.) London: Archetype.
FUSTER, L., CASTELL, M. Y GUEROLA, V. (2008). El estuco en la restauración de pintura sobre lienzo: criterios, materiales y procesos. Valencia: Universidad Politécnica de Valencia.
FUSTER, L. (2012) “Filling”. En The conservation of easel paintings, STONER, J. H., RUSHFIELD, R. A. (ed.). Abingdon, Oxon : Routledge, 592-598.
GARCÍA FERNÁNDEZ-VILLA, S., DE LA ROJA, J.M., SAN ANDRÉS, M. (2011). “La transferencia de imágenes electrográficas en la práctica artística contemporánea y su estabilidad”. En Conservación de Arte Contemporáneo, 12ª Jornada. Madrid: Museo Nacional Centro de Arte Reina Sofía y GEIIC.
GARCÍA FERNÁNDEZ-VILLA, S. (2015) “Filling as Retouching: The Use of Coloured Fillers in the Retouching of Contemporary Matte Paintings”. En RECH 3. III International Meeting on Retouching of Cultural Heritage Postprints, HENRIQUES, F., BAILÃO, A., BIDARRA, A., BORDALO, R. Y SILVA, F. (eds.) Porto: Escola Artística e Profissional Árvore, 199-208.
KREMER PIGMENTE. (n.d.) 87060 BEVA® Gesso-P (Ficha técnica). https://www.kremer-pigmente.com/elements/resources/products/files/87060e.pdf. [consulta: 18/9/2021]
MAILAND, H. (1998) “Re-evaluating the application of ethylene vinyl resin based adhesive for treating textiles and costumes”. En Adhesive treatments revisited. London: United Kingdom Institute for Conservation, 31–36.
SALAS, C., PORRAS-ISLA, M. Y CALVO, A. M. (2018). Proyecto Coremans: Criterios de intervención en pintura de caballete. Madrid: Ministerio de Educación, Cultura y Deporte, Subdirección General de Documentación y Publicaciones.
SUTTON, P. C. Y LOUGHMAN, J. (1994). El siglo de oro del paisaje holandés. Madrid: Fundación Colección Thyssen-Bornemisza
- Copyright and intellectual property belongs to author. Author guarantees editing and publishing rights to Ge-Conservación Journal, under a Creative Commons Attribution License. This license allows others to share the work with authorship and the original source of publication acknowledgement.
- Articles can be used for scientific and educational purposes but never for commercial use, being sanctioned by law.
- The whole content of the article is author’s responsibility.
- Ge-Conservación Journal and authors may establish additional agreements for non-exclusive distribution of the work version published at the Journal (for example, on institutional repositories or on a book) with acknowledgment of the original publication on this Journal.
- Author is allowed and encouraged to disseminate his works electronically (for example, on institutional repositories or on its own website) after being published on Ge-Conservación Journal. This will contribute for fruitful interchanges as also for wider and earlier citations of the author’s works.
- Author’s personal data will only be used for the Journal purposes and will not be given to others.