Slika sv. Martina datirana je u 18. stoljeće te se pretpostavlja da je izvorno
pripadala starijem drvenom i polikromiranom oltaru iz razdoblja obnove crkve i
inventara šezdesetih godina 18. stoljeća. ...Potkraj 19. stoljeća stari oltar zamijenjen
je oltarom sv. Katarine iz zagrebačke katedrale, autora F. Robbe, i od tada slika u
nekoliko navrata mijenja svoj položaj na oltaru. U prvo se vrijeme slika nalazila
na novom oltaru kao glavna oltarna slika, a tridesetih je godina 20. stoljeća premještena
na atiku oltara. Konačno je sedamdesetih godina 20. st. potpuno uklonjena
s oltara i pohranjena u župnom dvoru, gdje se trajno čuvala.
Na slici sv. Martina su tijekom 2012. i 2013. godine provedeni cjeloviti konzervatorsko-
restauratorski radovi. Tijekom tih radova, a nakon faze uklanjanja
potamnjelog laka, otkrivana signatura autora s godinom nastanka slike. Tim
otkrićem korigirana je datacija slike na 1852. godinu te je utvrđeno da je autor
Johann Beyer iz Austrije koji je od 1840-ih do 1860-ih godina izradio niz oltarnih
slika u Hrvatskoj pa tako i sliku za Svibovec kod Varaždinskih Toplica. Temeljem
prikupljenih podataka može se pretpostaviti da je tom prilikom nastala i nova oltarna
slika za barokni oltar iz crkve sv. Martina u Varaždinskim Toplicama. Slika
je u cijelosti restaurirana podlaganjem novom tkaninom za ojačanje platnenog
nosioca, izrađen je novi podokvir i ukrasni okvir te je nakon završenih radova
vraćena u župni dvor u Varaždinskim Toplicama. Radovi su se provodili u Restauratorskom
centru Hrvatskog restauratorskog zavoda u Ludbregu, a financirani
su sredstvima Ministarstva kulture Republike Hrvatske.
The Town of Koprivnica Museum has in its possession a collection of guild banners. These textile banners have been stored in the Museum since 1946, after they had been removed from the Koprivnica ...parish church where they hung beside alters. Textiles are extremely fragile materials and these banners were exposed to various bad microclimatic conditions (light, dust, humidity and insects) that caused extensive damage (mechanical, chemical, photochemical, physical). The museum storage of the banners was to preserve and record the guild period in Koprivnica. Initially, the Museum had limited options to stop further degradation of the textile artefacts as it neither had the financial support nor the facilities to insure adequate storage for effective preservation and display. The Museum has now initiated a project for their conservation and restoration of the artefacts. The main partner in this project is the Restoration Centre Ludbreg of the Croatian Conservation Institute from Zagreb. This institution has completed the restoration and conservation of one of the oldest and the most valuable banners from the Museum collection – the banner of the barber, hairdresser, mead and gingerbread, baker, cord maker, soap boiler and turner guilds. The restoration process was very complex and long-lasting, so it is very important to decide how the banner will be kept and stored at the Museum after restoration. Advice from an expert panel suggested that in accordance with contemporary conservation principals, the banner could be kept and displayed inside the Museum showroom. It should however, be displayed lying on a flat, slightly inclined surface (max. 15%) inside a showcase covered by glass. The showcase has to be placed in a room under controlled conditions at a temperature of 18-22°C, relative humidity of 45-55 % and maximum lighting of 50 lux. Constant control and maintenance of adequate microclimatic conditions are very important factors in the safekeeping of textile artefacts making them more resistant to further degradation.
Tijekom radova na sanaciji kripte u katedrali sv. Terezije Avilske u Požegi u drvenim ljesovima s posmrtnim ostacima građana i građanki Požege pronađen je velik broj grobnih priloga, pa i odjeća u ...kojoj su bili ukopani. Među pronađenim tekstilnim predmetima nalazile su se marama pok. Ane Slavetić i šal pok. Ane Erlinger. Marama i šal bili su izrađeni od finih, mekih i sjajnih svilenih damastnih tkanina smeđih tonova s utkanim motivima cvjetnih buketa i čipke. Konzervatorsko-restauratorska istraživanja i komparativne analize tekstilno-tehnoloških i stilskih karakteristika bili su usmjereni na određivanje vrste i podrijetla svilenih tkanina, pa su na temelju dobivenih rezultata datirani u prvu polovicu 19. stoljeća, ali nije bilo moguće utvrditi točno mjesto njihove izrade. Međutim, uspoređujući ih s drugim komparativnim primjerima, može se pretpostaviti da su nabavljene na području srednje Europe, Austrije (Beča) ili Češke, jer je kontinentalna Hrvatska s tim područjima u to doba imala intenzivne gospodarske, trgovinske i kulturne veze.
Zbog uvjeta kojima su tekstilni predmeti unutar ljesova dugo vrijeme bili izloženi tijekom procesa razgradnje tijela, iako prilično dobro očuvani, na marami i šalu bila su prisutna mnogobrojna mehanička oštećenja i fizikalno-kemijske promjene izvornih tonova obojenja. Na Odjelu za tekstil Hrvatskoga restauratorskog zavoda u Zagrebu 2006. godine provedena je faza dezinfekcije, mokrog i suhog čišćenja te sušenja s izravnavanjem cjelokupne zbirke haljina i marama, a tijekom 2009. i 2010. godine konzervatorsko-restauratorski radovi na marami i šalu nastavljeni su na Odsjeku za tekstil Restauratorskog centra Hrvatskog restauratorskog zavoda u Ludbregu. Predmeti su očišćeni od preostalih čestica nečistoće, tkanine i rese su izravnane te su na njima sanirana mehanička oštećenja kombiniranom tehnikom podlaganja i učvršćivanja šivanjem. Nakon provedenih radova predmeti su vraćeni u Požegu upakirani u kutije od beskiselinskog kartona za pohranu.
The painting of St. Martin is dated to the 18th century and presumed to have originally belonged to an earlier wooden and polychromed altar from the time the church and its furnishing were renovated ...in the 1760s. In the late 19th century, the old altar was replaced by Francesco Robba’s altar of St. Catherine from Zagreb Cathedral, and since then the painting had on several occasions changed its location on the altar. It was first situated on the new altar as the main altarpiece, to be moved in the 1930s to the altar attic. Finally, in the 1970s it was completely removed from the altar and stored in the parish rectory, where it has remained kept to this day. Ludbreg Conservation Centre of the Croatian Conservation Institute carried out comprehensive conservation work on the painting of St. Martin from 2012 to 2013. In the course of these efforts, once the darkened varnish was removed, the author’s signature was uncovered with the year the painting had originated. This discovery corrected the painting’s dating to 1852, while the author was revealed to be Johann Beyer from Austria, who painted a series of altarpieces in Croatia from the 1840s to 1860s, including a painting for Svibovec near Varaždinske Toplice. Based on the records collected, it can be assumed that it was on this occasion that a new altarpiece was commissioned for the Baroque altar of St. Martin in Varaždinske Toplice. The painting was fully restored by relining the canvas with a new fabric to strengthen the support, a new stretcher and decorative frame were made, and upon the completion of conservation, it was returned to the parish rectory in Varaždinske Toplice. The work was financed by the Croatian Ministry of Culture.
The Parish church of St. Martin in Martijanec was mentioned for the first time in the document of the Zagreb diocese in 1334. A part of the protected inventory of the church is a collection of ...liturgical textile consisting of three parts from the following churches: St. Martin in Martijanec, St. Benedict in Hrastovljan and St. Cross in Križovljan. The collection is protected by law as Croatian cultural heritage due to its valuable and rare historic tissue imported from various European manufactures especially for that purpose. The tissue was mainly imported from Austria or Germany during the 19th century and only a few samples can be dated in the late 18th century. Historic textile from the Parish church of St. Martin in Martijanec and the other two chapels was out of use and neglected as it had been inadequately stored in old wooden wardrobes and exposed to dust, humidity and insects. The most valuable samples of historic textile were collected and exposed as a part of the Exhibition of Sacral Art in the Chapel of St. Cross at the Batthyany Castle in Ludbreg.
The paper gives an overview of the project of the Textile Archive, a collection of historical textiles at the Ludbreg Conservation Centre of the Croatian Conservation Institute. The project is a ...collaborative effort of conservators from the Ministry of Culture and the Croatian Conservation Institute. Textile artefacts kept at the Textile Archive were collected from parishes across NW Croatia, with many of them endangered due to poor keeping conditions. They are subjected to preventive conservation as part of the Textile Archive programme, and are designated to become the heart of the future Museum of Textile. This way they could be preserved from deterioration and become more accessible to all experts in this field of applied arts or in the technology of textile production.
U tekstu je ukratko opisan projekt Tekstiloteke, zbirke povijesnog tekstila, u Restauratorskom centru Hrvatskoga restauratorskog zavoda u Ludbregu. Na projektu surađuju konzervatori Ministarstva ...kulture i restauratori Hrvatskoga restauratorskog zavoda. Tekstilni predmeti pohranjeni u Tekstiloteci, prikupljeni su po župama na području SZ Hrvatske jer su mnogi ugroženi zbog loših uvjeta čuvanja. Na njima se u sklopu programa Tekstiloteke provodi preventivna konzervacija, a u budućnosti bi trebali postati temelj budućeg Muzeja tekstila. Na taj način bili bi sačuvani od propadanja te postali dostupniji svim stručnjacima koji se bave tim dijelom primijenjene umjetnosti kao i tehnologijom tekstilne proizvodnje.
Prošlo je točno 75 godina od izbijanja Drugog svjetskog rata u Hrvatskoj, najvećeg sukoba u ljudskoj prošlosti. Tijekom četiri ratne godine u Podravini, Prigorju, na Kalniku, u Moslavini vodile su se ...borbe te je stradalo mnogo civila te vojnika s obje strane. U spomen na stradale te na ratne događaje, na ludbreškom je području podignuto više od 30 spomen-obilježja Narodnooslobodilačkoj borbi.
Prošle je godine (2015.) u Varaždinu održan stručni skup „Spomenička baština NOB-e, 70 godina poslije“ u organizaciji Zajednice udruga antifašističkih boraca i antifašista Varaždinske županije i Ministarstva kulture Republike Hrvatske. U ovom radu bit će iznijeti podatci o svim dosada evidentiranim i sačuvanim oblicima spomen-obilježja, kao i drugih vrsta spomenika memorijalnog i umjetničkog karaktera od kojih svaki na svoj način evocira događaje i žrtve NOR-a na području bivše općine Ludbreg. Formalnom analizom će se utvrditi da većina spomenika nema posebnu umjetničku
vrijednost, već su važni za lokalnu zajednicu kao sjećanje na tragične događaje iz nedavne prošlosti u koje je stanovništvo ludbreškog kraja bilo aktivno i masovno uključeno. S aspekta povijesti umjetnosti,
posebna pažnja bit će posvećena samo značajnijim umjetničkim djelima iz razdoblja poslijeratne umjetničke produkcije u duhu socijalističkog realizma.
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