The introductory chapter of this thesis explores the topic of damage and chromatic reintegration, with a focus on the paint layers of the painting. We then highlight the importance of using modern materials in contemporary conservation and restoration practices. These allow for a higher level of reversibility and stability, as well as adherence to theoretical frameworks, methods of chromatic reintegration, and the ethical principles of conservation-restoration. A detailed analysis of the damage to the specific painting follows. Damage to the painting includes cracks due to ageing, removed glazes and thin paint layers from improper cleaning, and missing parts of the canvas. Additionally, areas that were overcleaned during past inappropriate interventions expose the underlying support. For ease of visualisation, a graphic representation illustrates the type and location of the damage. Subsequently, the thesis describes the retouching procedures, which include the application of putty, toning of the patched areas, varnish application, and final retouching. A digital simulation of the retouching process is also provided to help visualize the expected final appearance. The aim of this thesis is to present a comprehensive approach to retouching paintings, combining theoretical knowledge, practical methods, and an individualised approach to each work of art, exemplified by a painting with the Crucifixion motif.
|
