The thesis presents the process of retouching, carried out on an artwork, as well as the examination of the use of a graphic editing program, whose aim was to show the effect of several chromatic reintegration methods in a non-invasive way. The selected material consisted of two paintings of the Virgin Mary. Since they both depict the same motif, the paintings are referred to as painting A and painting B.
The paintings exhibited different stages of restoration, yet they both allowed chromatic reintegration to be performed. On the surface of painting A, the predominant losses were the in-filled areas of loss and aging cracks, with the ground being visible at some cracks. Painting B had already been varnished, and a layer of paint had been applied on the losses. A partial retouching using the tratteggio a punttino method had been carried out.
At the beginning of the thesis, I described the methods of chromatic reintegration and their use. I introduced theoretical principles by acclaimed authors, which I would base my decisions on. Furthermore, I outlined contemporary concepts of the values of artworks.
On the photographs of both paintings, I created digital simulations of the methods of chromatic reintegration: tratteggio a rigatino, tratteggio a punttino, and the mimetic method.
To perform chromatic reintegration on both paintings proved to be unachievable within the framework of the thesis. A wider variety of losses on painting A offered a larger number of possibilities for creating simulations. I therefore decided to carry out the complete chromatic reintegration only on painting A.
The method I chose was tratteggio a punttino. In the thesis, I provided an in-depth description of the procedure, the materials used, and the key principles for chromatic reintegration. The text is complemented by documentation material. In the final part of the thesis, I presented the proposal on how retouching could be carried out on painting B.
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