Lacuna in polychromy: how far to retouch?

  • Soraia Goncalves Escola de Belas Artes-EBA, Universidade Federal de Minas Gerais-UFMG
  • Maria Regina Emery Quites Escola de Belas Artes-EBA, Universidade Federal de Minas Gerais-UFMG
DOI: https://doi.org/10.37558/gec.v15i0.611
Keywords: polychrome sculpture, lacuna, criteria, methodology, chromatic reintegration

Abstract

This work reviews the literature and theoretical reflection, specific about lacunae of polychrome addressing the authors Philippot (1970,1971), Taubert (1970), Ballestrem (1971), Serck- Dewaide (2002, 2007) Depuydt (2007), Bailão (2015) e Proyeto Coremans (2017). Dialoguing with the theory we present the case study, the sculpture of Our Lady of Conception, Minas Gerais, Brazil, in which the discussion covers the lacunae of polychrome in their qualitative and quantitative character, functions of the religious image, values, contexts, legibility, aesthetic fruition within the altarpiece point of view, and also its value as document/antiquity. We have made a critical interpretation of polychrome lacunae in consensus/equilibrium with the treatment of support. Our cultural heritage has a great collection of catholic sculptural art, which chronology begins in the XVI and XVII centuries in the coastal area, and in Minas Gerais, where the peak was reached in the XVIII and XIX centuries. We must relativize the specificity of the Brazilian context when we reflect on the preservation of our memory.

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Author Biographies

Soraia Goncalves, Escola de Belas Artes-EBA, Universidade Federal de Minas Gerais-UFMG

Soraia Goncalves: Graduação em Conservação-Restauração de Bens Culturais Móveis, da EBA/UFMG (2017) e graduação em Artes Plásticas-bacharelado pela Escola Guignard-Universidade do Estado de Minas Gerais (2009).

Maria Regina Emery Quites, Escola de Belas Artes-EBA, Universidade Federal de Minas Gerais-UFMG

Maria Regina Emery Quites: Pós-doutoramento Universidade de São Paulo-USP (2016), doutorado Universidade Estadual de Campinas - UNICAMP (2006). Especialização em Conservação-Restauração (1990) e Mestrado (1997) no Programa de Pós-Graduação - Escola de Belas Artes - Universidade Federal de Minas Gerais - UFMG. Professora Associada da EBA/DAPL/CECOR. Coordenadora do Curso de Graduação em Conservação-Restauração da EBA/UFMG (2008 a 2011). Membro do Programa de Pós-Graduação da EBA/UFMG, e do Centro de Estudos da Imaginária Brasileira- CEIB. 
Endereço para acessar este CV: http://lattes.cnpq.br/1943960329335593

References

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BALLESTREM, A. (1970). Sculpture polychrome – Bibliographie. Studies in Conservation. 15. 253-271.

ELBAUM. L. D. (2007). Historique des principaux cas de restauration et réintégration à l’IRPA les dernières 50 années, Postprints des journées d’étude internationales aproa-brk en collaboration avec Institut Flamand du Patrimoine, 17 -27, 25.

GONÇALVES, S.N.(2017). “Nossa Senhora da Conceição”: reflexões sobre lacunas e reintegração cromática. Belo Horizonte: Escola de Belas Artes

PHILIPPOT, P. (1970). Problèmes esthétiques et archéologiques de conservation des sculptures. Preprints of the Contributions to the New-York Conference. IIC. 59-62.

PHILIPPOT, P. (1970). La restauration des sculptures polychromes. Studies in Conservation. 15. 250.

PROYECTO COREMANS (2017). Criterios de intervención en retablos y escultura policromada, Catálogo general de publicaciones oficiales. Ministerio de Educación, Cultura y Deporte. Disponível: https://sede.educacion.gob.es
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RAMOS, A. et al (2015) Por que repintar, por que remover? Estudo de caso de Nossa Senhora da Conceição. En VIII Congresso do CEIB, Belo Horizonte: Ceib, 220-224. Disponível: http://www.ceib.org.br/pub/Ceib_IB%20(8).pdf [Acesso 20 de outubro 2018]

SERCK-DEWAIDE. M. (2002). La reconstituition et la retouche en sculpture: pour qui? pourquoi? Commen?. In: Colloque del’ARAAFU. Dans visibilité de la restauration, lisibilité de Loeuvre, Paris:151-160. 154.

SERCK-DEWAIDE, M. (2007). Variations sur le thème de la retouche: sur surface plane ou sur volume; translucide ou opaque; uniforme, à points ou à lignes; au “feeling” ou programmée. En Postprints des journées d’étude internationales aproa-brk en collaboration avec Institut Flamand du Patrimoine. La problématique des lacunes em conservation-restauration. Brussel: 36-42

TAUBERT, J. (2015). Polychrome Sculpture: Meaning, Form, Conservation. The Getty Institute of Conservation. 2015.

LÓPEZ, M. J. G. et al. (2002) La escultura barroca policromada y su conservación. Estudio comparativo de alteraciones. Policromia: a escultura policromada religiosa dos séculos XVII e XVIII - estudo comparativo das técnicas, alterações e conservação em Portugal, Espanha e Bélgica. Actas do Congresso Internacional, Lisboa: Instituto Português de Conservação e Restauro (IPCR). P. 273.
Published
2019-06-27
How to Cite
Goncalves, S., & Emery Quites, M. R. (2019). Lacuna in polychromy: how far to retouch?. Ge-Conservacion, 15, 89-97. https://doi.org/10.37558/gec.v15i0.611
Issue
Vol. 15 (2019): Ge-conservación Nº 15
Section
Suplemento
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