Portando avanti il lavoro intrapreso la lezione precedente, si è proceduto con parziali puliture a solvente su alcune zone poco rilevanti delle tele, in quanto la campagna fotografica atta a testimoniare lo stato di fatto delle opere appena giunte in laboratorio non è ancora stata eseguita in maniera professionale, con foto in b/n del formato standard fissato dalla soprintendenza. Tali prove sono state fatte in corrispondenza dei toni cromatici più freddi, in particolare sull’armatura del Santo, piuttosto che su porzioni esigue del cielo, o ancora in corrispondenza della vegetazione del suolo.
Sia sulla tela A (“Vergine Four Saints ") on the canvas B (" Virgin and Two Saints "), the solvents used were two: Depan and alkaline cleaner, rinsed in both MEK and the results were satisfactory, but the first product labeled to trigger an avalanche level of pictorial film in areas already subject to chalking.
This led us to prefer alkaline cleaner, applied to buffer, with exposure times of about one minute.
frame visible on the backside of A was treated with 20 Synacril lying on the brush very wet, the Synacril is a copolymer of methacrylate and etilmetacrilato in solution. It is a protective acrylic concentrate that can be used on woodwork, ceramic or metal, which produces a film with a brilliant all-encompassing effect (slightly darker).
B on the work, in conjunction with the most fragile areas of the painting shown above along the bar of the frame in order to fine tune the fragments and limit the fall, was applied in an area of \u200b\u200babout cm. 15X15 limited to the Virgin's mantle, the plume of the Holy hanger flag and the side portions, a consolidating type Plexisol, in 10% solution in MEK. The mixture was spread on the back with a brush for imbibition of the tissues. The result was an almost immediate saturation of the tones treated, accompanied by a good adhesion to the support of the fragments, which made it easier to run small with alkaline cleaners.
Sia sulla tela A (“Vergine Four Saints ") on the canvas B (" Virgin and Two Saints "), the solvents used were two: Depan and alkaline cleaner, rinsed in both MEK and the results were satisfactory, but the first product labeled to trigger an avalanche level of pictorial film in areas already subject to chalking.
This led us to prefer alkaline cleaner, applied to buffer, with exposure times of about one minute.
frame visible on the backside of A was treated with 20 Synacril lying on the brush very wet, the Synacril is a copolymer of methacrylate and etilmetacrilato in solution. It is a protective acrylic concentrate that can be used on woodwork, ceramic or metal, which produces a film with a brilliant all-encompassing effect (slightly darker).
B on the work, in conjunction with the most fragile areas of the painting shown above along the bar of the frame in order to fine tune the fragments and limit the fall, was applied in an area of \u200b\u200babout cm. 15X15 limited to the Virgin's mantle, the plume of the Holy hanger flag and the side portions, a consolidating type Plexisol, in 10% solution in MEK. The mixture was spread on the back with a brush for imbibition of the tissues. The result was an almost immediate saturation of the tones treated, accompanied by a good adhesion to the support of the fragments, which made it easier to run small with alkaline cleaners.
On Madonna B were given two tilings most important. The first, against the saint of the left leg, includes a portion of the sky, revealed a bluish gray, and highlighted a number of details previously hidden by layers of dust and other loose deposits, such as the lion's head on the shin. 
The second tiling involved here too heterogeneous portions of different colors, and has been done on the right, in the two cherubs suspended on a cloud. Were brought to light the delicate tones of the flesh, the yellow background that dominates the work and the changing tones of cirrus clouds. A problem that has manifested itself during construction was the low resistance of the preparation of a reddish tone, which in contact with the solvent, where no pictorial film, gave a reddish haze surrounding the painting (especially visible on white) . To avoid further loss of color, was made a consolidation Plexisol 10% MEK in the back.
I remind you that all photos can be found at Picasa:
0 comments:
Post a Comment