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CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7.025.3"21"(082)(0.034.2) 7.025.4"20"(082)(0.034.2) ZNANOST za umetnost : konservatorstvo in restavratorstvo danes : zbornik prispevkov mednarodnega simpozija = Science in art : conservation and restoration today : international symposium proceedings / [znanstvena besedila Marin Berovič ... [et al.] ; glavni urednici Tamara Trček Pečak, Nada Madžarac ; prevodi iz angleščine v slovenščino Breda Misja ... [et al.], prevodi spremnih besedil Tamara Soban]. - Ljubljana : Zavod za varstvo kulturne dediščine, 2013 ISBN 978-961-6902-59-5 1. Vzp. stv. nasl. 2. Berovič, Marin 3. Trček Pečak, Tamara 270068992 Glavni urednici | Editors-in-chief Tamara Trček Pečak, Nada Madžarac Uredniški odbor | Board of editors Tina Buh, Jo Kirby, Nada Madžarac, Miladi Makuc Semion, Tamara Soban, Tamara Trček Pečak Recenzentki | Board of Reviewers: Jo Kirby, Miladi Makuc Semion Znanstvena besedila | Scientific texts Marin Berovič, Rachel Billinge, Christopher Holden, Jo Kirby, Polonca Ropret, Denis Vokić, Ulrich Weser Tuji avtorji so znanstvena besedila posredovali v angleščini, slovenska avtorja pa v obeh jezikih. All scientific texts were written in English; the Slovenian authors also provided their texts in Slovenian. Prevodi iz angleščine v slovenščino | Translations into Slovenian Breda Misja, Irena Sajovic, Tamara Soban, Suzana Stančič Prevodi spremnih besedil | Translations of introductory texts Tamara Soban Lektoriranje slovenskih besedil | Slovenian language editing Vlado Motnikar Lektoriranje angleških besedil | English language editing Jo Kirby Uredniške korekture pred tiskom | Editorial revise before printing Mateja Neža Sitar Grafično oblikovanje (2011/2012) | Graphic Design (2011/2012) Jelena Kauzlarić Izdal | Published by Zavod za varstvo kulturne dediščine Institute for the Protection of Cultural Heritage of Slovenia Zanj | Publishing Executive dr. Jelka Pirkovič, generalna direktorica | Director general Ljubljana 2013 Mednarodni simpozij | International symposium Znanost za umetnost Science in Art Konservatorstvo in restavratorstvo danes Conservation and Restoration Today Narodna galerija, Ljubljana, 16.–17. februar 2005 National Gallery of Slovenia, 16–17 February 2005 Organizacijski odbor simpozija | Members of the organization committee Vodji organizacijskega odbora simpozija | Heads of the organization committee: Tamara Trček Pečak (Narodna galerija, Ljubljana) & Nada Madžarac (Moderna galerija, Ljubljana) / Museum of Modern Art, Ljubljana Andrej Smrekar, direktor Narodne galerije, Ljubljana / director of the National Gallery of Slovenia Jernej Hudolin, vodja Restavratorskega centra ZVKDS / director of the Restoration Center of the Institute for the Protection of Cultural Heritage of Slovenia Zdenka Badovinac, direktorica Moderne galerije, Ljubljana / director of the Museum of Modern Art, Ljubljana Damjana Pečnik, sekretarka Društva konservatorjev Slovenije / secretary of the Slovenian Conservators Association Gojka Pajagič Bregar, predsednica Društva restavratorjev Slovenije / President of the Slovenian Society for Conservation-restoration Ivan Bogovčič, Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani / The Academy of Fine Arts and Design of the University of Ljubljana Tamara Soban, Moderna galerija, Ljubljana / Museum of Modern Art, Ljubljana Andrej Hirci, Narodna galerija, Ljubljana / National Gallery of Slovenia Soorganizatorji | Co-organizers Restavratorski center ZVKDS; Restoration Center of the Institute for the Protection of Cultural Heritage of Slovenia; Narodna galerija, Ljubljana; National Gallery of Slovenia; Moderna galerija, Ljubljana; Museum of Modern Art, Ljubljana. Za pomoč se zahvaljujemo | Special thanks to Ivo Nemec, Tanja Pak, Breda Pečak, Polonca Ropret JO KIRBY NADA MADŽARAC TAMARA TRČEK PEČA K C H R I S T O P H E R H O L D E N , ROY PERRY RACHEL BILLINGE J O K I R B Y, D A V I D S A U N D E R S , M A R I K A S P R I N G , CATHERINE HIGGITT ULRICH WESER, UWE HILFRICH DENIS VOKIĆ, MARIN BEROVIČ MARIN BEROVIČ POLONCA ROPRET Predgovor 12 Foreword Uvod 16 Introduction O povezavi med strokami 22 Interdisciplinary Connections Rekonstrukcija spodnje plošče Velikega stekla – 1965-6 Marcela 29 Duchampa/Richarda Hamiltona The Reconstruction of the Lower Panel of Marcel Duchamp/Richard Hamilton’s Large Glass – 1965–6 Raziskave Rafaelovih slik v londonski Narodni galeriji z infrardečo 53 reflektografijo Infrared Examination of Paintings by Raphael at the National Gallery, London Rdeča in modra: nedavne raziskave pigmentov, barvil in spremembe 73 barvnih plasti v londonski Narodni galeriji Red and Blue: Recent Work on Pigments, Paint and Colour Change at the National Gallery, London Alkalni kronski etri v umetnosti in konservatorstvu 99 Alkali-Crown-Ether in Art and Conservation Uporaba encimov pri čiščenju oljnih in tempera slik 121 Application of Enzymes in the Cleaning of Oil and Tempera Paintings Biokorozija poslikav 137 Biocorrosion Studies on Painted Surfaces Kemijsko čiščenje in izbira veziva za retušo, 147 Stolna cerkev Svetega Nikolaja v Ljubljani Chemical Cleaning and the Selection of the Retouching Binder, The Cathedral of Saint Nicholas, Ljubljana O avtorjih besedil 158 About the Authors Znanost za Umetnost Science in Art Konservatorstvo in restavratorstvo danes Conservation and Restoration Today Zbornik prispevkov mednarodnega simpozija International Symposium Proceedings Simpozij in izid zbornika so omogočili: The symposium and the publication of the proceedings were supported by the following institutions: Zahvala Special thanks Ministrstvo za kulturo Republike Slovenije Ministry of Culture of the Republic of Slovenia ZVKDS, Center za konservatorstvo, Restavratorski center Restoration Centre, Conservation Centre of the Institute for the Protection of Cultural Heritage of Slovenia Narodna galerija, Ljubljana National Gallery of Slovenia Moderna galerija, Ljubljana Museum of Modern Art, Ljubljana Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani The Academy of Fine Arts and Design of the University of Ljubljana ADRIA AIRWAYS LEK, d. d. Narodna galerija, Moderna galerija in Restavratorski center ZVKDS so februarja 2005 skupaj organizirali medna- rodni simpozij Znanost za umetnost – Konservatorstvo in restavratorstvo danes. Simpozij je sovpadel z razstavo del Hansa Georga Geigerja (Mojstra HGG), umetnika iz sedemnajstega stoletja, v Narodni galeriji v Ljubljani. Nekatere slike so bile zanemarjene in poškodovane, posebno žuželke in vlaga so povzročile strukturno nestabilnost in luščenje barve. Ko so slike prispele v Narodno galerijo, jih je bilo treba najprej konservatorsko obdelati in restavrirati, preden so jih lahko JO KIRBY razstavili v sijoči podobi, v kakršni jih občinstvo lahko občuduje vse odtlej. Pred posegi je bilo treba dela najprej nadvse temeljito pregledati in proučiti. Izkušen restavrator ob pogledu na umetnino vidi veliko več kot povprečen obiskovalec galerije, še več pa lahko ugotovi, če so mu na voljo določeni pripomočki. Stanje in strukturo slik Mojstra HGG so proučili z rentgensko radiografijo, ki je med drugim pokazala spremembe, do katerih je morda prišlo med postopkom slikanja. Za dokumentiranje videza del pred in med posegi ter po njih je bila bistvena fotografija, preiskave z ultravijolično svetlobo pa so pokazale, kako obsežna so bila predhodna restavriranja. Preiskava prečnega prereza zelo majhnega vzorca barve je pokazala strukturo barvne plasti, to je, kako je umetnik izdelal sliko in katere materiale je uporabil. Vsi ti postopki so dobro znani. Obstajajo pa tudi drugi načini bolj poglobljenega proučevanja struktur, ki bi lahko bili – in tudi že so – koristni za konservatorje in restavratorje, čeprav so težje razumljivi. Kadar so podatki predstavljeni kot spekter, kromatogram ali kvantitativna ocena elementov v barvi z določenega območja, jih lahko nemudoma razbere le tisti, ki je analizo s tovrstno opremo opravil. Kako naj torej restavrator 12 ] 13 Predgovor Foreword The international symposium Science In Art – Conservation and Restoration Today, organised jointly by the Narodna galerija/ National Gallery of Slovenia, the Moderna galerija/ Museum of Modern Art, and the Restavratorski center RS/ Restoration Centre of the Republic of Slovenia in February 2005, coincided with an exhibition of works by the seventeenth-century artist, Hans Georg Geiger (the Master HGG), held in the National Gallery of Slovenia, Ljubljana. Some of the paintings had sufered from neglect; insect damage and damp had taken their toll, causing structural instability and flaking paint. When they arrived in the National Gallery of Slovenia, they required conservation treatment and restoration before they could be put on display in the splendid condition in which the public have been able to admire them, both during the exhibition and subsequently. Before this could be done, the works had to be examined and studied in depth. The experienced restorer sees a great deal more than the average gallery visitor when looking at a work of art, but even more can be observed when the restorer is assisted by certain aids. Thus, the condition and structure of the Master HGG’s paintings were studied by X-radiography; this reveals, for example, changes that may have been made during the painting process. Photography was essential for documenting the appearance of the work before, during and after its treatment; examination by ultraviolet illumination revealed the extent of previous restorations. The examination of
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    National Gallery Technical Bulletin volume 33 National Gallery Company London Distributed by Yale University Press 001-003 TB33 16.8.indd 1 17/08/2012 07:37 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2012 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including CHICAGO photocopy, recording, or any storage and retrieval system, without The Art Institute of Chicago, Illinois © 2012. Photo Scala, Florence: prior permission in writing from the publisher. fi g. 9, p. 77. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria dell’Accademia, Florence © Galleria dell’Accademia, Florence, Italy/The Bridgeman Art Library: fi g. 45, p. 45; © 2012. Photo Scala, First published in Great Britain in 2012 by Florence – courtesy of the Ministero Beni e Att. Culturali: fig. 43, p. 44. National Gallery Company Limited St Vincent House, 30 Orange Street LONDON London WC2H 7HH The British Library, London © The British Library Board: fi g. 15, p. 91. www.nationalgallery. co.uk MUNICH Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich British Library Cataloguing-in-Publication Data. © 2012. Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und A catalogue record is available from the British Library. Geschichte, Berlin: fig. 47, p. 46 (centre pinnacle); fi g.
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    The Madonna of the Pinks

    Eindexamen Engels vwo 2007-II havovwo.nl Tekst 7 The Madonna of the Pinks Andreas Whittam Smith I am not particularly nationalistic so far as works of art are concerned. If, as expected, Tessa Jowell, the Secretary of State for Culture, announces later this week that the Government is to defer the export of the lovely Raphael, Madonna of the Pinks, so that funds can be assembled to match the bid by the Getty Museum in Los Angeles, I won’t myself be rattling the collecting tin. The picture was painted in Florence in about 1507-8 just before Raphael left to start work at the papal court in Rome, when the Eternal City was again, briefly, It was originally displayed at Alnwick the centre of the world in terms of artistic Castle in Northumberland as a true endeavour. But the Madonna of the Pinks Raphael, but the scholars of the time had was not a papal possession and when it their doubts and it was relegated to being turned up in a sale in Rome in 1853 as part hung in a corridor. Neglected for more than of a collection of 74 paintings, the fourth a century, the picture was finally Duke of Northumberland bought the lot recognised for what it was in 1991 by a and the Raphael has remained to this day curator from the National Gallery. It was 19 . lent to the National Gallery in London and Of course, Britain at the time was has hung there ever since. immensely wealthy, and probably only 22 the museum feels that it has a British dukes, as opposed to the moral right to hold on to the picture, and Continental variety, could afford such a recalls that, at the time of its rediscovery, it bold purchase.