Apie vieną tapybinio paviršiaus ir spalvos restauravimo metodą

LTReikšminiai žodžiai: Modernaus meno restauravimas; Netradicinis Metodas; Netradicinis restauravimo metodas; Netradicinė tapybos technologija; Petras Repšys; Reljefas; Restauravimas; Spalva; Tapyba; Tapybos paviršius; Tapybos praradimai; Tapybos sluoksnio sutvirtinimas; Šiuolaikinių meno objektų restauravimas; „Lelija ir moteris“; Color; Consolidation of color layer; Non-traditional method of restoration; Non-traditional technology of painting; Paint losses; Painted Surface; Painting; Petras Repšys; Reljef; Restorating contemporary art objects; Restoration; Restoration of modern artwork; Unconventional Method; „Lily and a Woman“.

ENWhile restoring contemporary art objects, restorers often have to adapt to the technological features of non-traditional work: think about how to touch the surface of the paint layer when consolidating it, predict the potential of color and light reflection changes and figure out how to avoid them, find a way to successfully integrate restored spots of a painting that were lost in the whole artwork. The study analyzing these issues was introduced in the conference ‘Colours 2015: Bridging Science with Art’ held in Evora (Portugal). The successful case of the restoration Petras Repšys’ modern artwork (second part of relief triptych II ‘Lily and a Woman’ (1968) was chose to illustrate the success of non-traditional, non-sustainable way of consolidating painting layer when conventional restoration methods used in practice could not be applied. The article describes unconventional ways of consolidating color layer and the restoration process. During the restoration of P. Repšys’ artwork ‘Lily and a Woman’ the paint layer was consolidated and paint losses were integrated into the whole artwork. [From the publication]