V prispevku so obravnavane pozlate in poslikave oltarjev in prižnic, katerih zasnova, figure oziroma reliefi in ornamentika so delo mariborskega kiparja Jožefa Holzingerja. Upoštevana so le ...ustrezno restavrirana dela, torej tista, pri katerih je prezentirana prvotna barvna podoba, kakršno so izvedli predstavljeni pozlatarji in poslikovalci. Poslikave in pozlate nekaterih Holzingerjevih oltarjev in prižnic so arhivsko dokumentirane. Dokumenti omenjajo mariborske slikarje Franca Beinlicha, Franca Antona Widemana in Antona Geringer- ja. Analizirane so stilistične spremembe barvitosti in strukturiranosti marmoracij in tonskih vrednosti inkarnatov v drugi polovici 18. stoletja. Ena izmed redkih ohranjenih pogodb za poslikavo velikega oltarja v cerkvi sv. Lenarta v Slovenskih goricah, sklenjena leta 1772 med upravnikom gospostva Hrastovec in upravnikom izpostave admomtskih benediktincev v Jarenini na eni ter mariborskim slikarjem Francem Antonom Widemanom na drugi strani, daje uvid v zahteve naročnikov, tehnologijo in stroške tovrstnih storitev.
Na primjerima sakralne i javne skulpture autorica razmatra primjenu boja i pozlate na renesansnoj kamenoj skulpturi u Dalmaciji. Polikromiranje i nanošenje pozlate gotovo je zanemareno u stilskoj ...analizi gotičko-renesansne skulpture. Stoga slikarska dorada figuralne i arhitektonske plastike otvara
nove mogućnosti za proučavanje njihova izvornog izgleda, kolorističkog tretmana kamene površine i recepture boja.
U sklopu izložbe Making Marvels: Science and Splendor
at the Courts of Europe („Stvaranje ushićenja: znanost i raskoš na europskim
dvorovima“, koja se održavala od 25. studenoga 2019. do 1. ožujka ...2020.) u The
Metropolitan Museum of Art u New Yorku, SAD, izloženi su umivaonik i vrč iz
vlasništva Dubrovačke biskupije – Dioecesis Ragusina. Ta dva dragocjena
primjera renesansne zlatarske umjetnosti njemačkoga grada Nürnberga izradio je
oko 1550. godine Peter Kuster. Iako se radi o stolnom uresu i jedinim
predmetima bez vidljive liturgijske namjene, umivaonik i vrč su do navedenoga
projekta bili spremljeni i izloženi u Moćniku dubrovačke katedrale Uznesenja
Blažene Djevice Marije. Posudba predmeta iskorištena je kao prilika i povod za
opsežne znanstveno-tehnološke analize materijala i primijenjenih tehnika izrade
tih iznimnih djela nirnberškog renesansnog zlatarstva. Na temelju istraživanja
i stečenih informacija o tehničkom sklopu, upotrijebljenim materijalima,
njihovu zatečenom stanju i prijašnjim zahvatima osmišljen je koncept za daljnje
konzervatorsko-restauratorske zahvate. U radu su predstavljeni rezultati
opsežnih istraživačkih radova. Njihova interpretacija donosi nove spoznaje o
tehnici izrade naturalističkih odljeva biljaka i životinja, kao i o životu,
stilskim obilježjima, tehnologiji i značenju rada Petera Kustera. Također je
dan uvid u nirnberško zlatarstvo 16. stoljeća, te djelovanje njegova
najpoznatijega predstavnika – Wenzela Jamnitzera.
The valuable
ensemble of an ewer and basin owned by the Diocese of Dubrovnik -
Dioecesis
Ragusina
was exhibited as part of the “Making Marvels: Science and Splendor
at the Courts of Europe” exhibition (November 25, 2019 – March 1, 2020) at The
Metropolitan Museum of Art in New York, USA. These two Renaissance examples of
goldsmith art from the German city of Nuremberg were made around 1550 by Peter
Kuster. Although these are the only objects with no apparent liturgical
purpose, before this project, the ewer and basin were stored in the treasury of
the Cathedral of the Assumption of the Blessed Virgin Mary in Dubrovnik. When
they return from New York, the Renaissance basin and ewer will become part of
the exhibition at the Sorkočević Palace or the Bishop’s Palace in Dubrovnik. The basin and ewer
were loaned for the exhibition as an opportunity and motivation for a
comprehensive scientific and technological analysis of the materials and
techniques used to manufacture these exceptional works of Nuremberg Renaissance
goldsmith art. In order to learn more about the production technique, as well
as the nature of the surface and its ageing phenomena, a systematic examination
of the entire surface was carried out. Based on the information obtained
through the research, a concept for the necessary conservation was drawn up.
Images from an
optical microscope in combination with z-scan techniques allowed precise
characterization of the surface topography as well as insights into the
construction, preparation of animals and the casting technique. The colours of
the natural casts as well as later layers of overpaint were identified and
dated through energy dispersive X-ray microanalysis in the scanning electron microscope.
The use of micro-computer tomography on several animal and plant figures
provided interesting insights about the construction and techniques used to
make this outstanding Renaissance artwork, since only a few comparable objects
have been preserved and researched worldwide.
Scientific and
technological research also showed the skilled craftsmanship involved in making
such unique creations of silverware destined for the cabinets of curiosities.
It takes months of intensive work to make this type of item, during which the
master must anticipate countless details and have a very broad knowledge of
materials and techniques. In many cases he must also be lucky, especially in
working with new techniques such as natural casts. The production of natural
casts of plants and animals has been a great challenge, starting with catching
and collecting the animals and plants for casting, making moulds, preparing the
animals, casting in metal, colouring and imitating their appearance. Although Peter
Kuster's ewer and basin seem to lag behind the elegant works of Wenzel
Jamnitzer in the sophistication of composition, this work combines an
emblematic Renaissance approach to science and luxury at the same time. At the
beginning of his career, the young goldsmith Kuster attempted to compete with,
or even surpass, his well-known and respected neighbour Jamnitzer with an
incomparable number of natural casts of flora and fauna. Kuster deviated from
Jamnitzer's symmetry and tried to integrate elements of flora and fauna into the
natural environment. As this is Kuster’s
only known work, it is difficult to compare his creativity and the quality of
his craftsmanship with Jamnitzer’s. Kuster never used a mould twice - all his
natural casts of animals are unique, which can be attributed to the difficult
production of negative moulds. However, even after very extensive research, it
is not possible to judge why a small number of the naturalistic outflows are
technically less accurate than others. The fact that only a few animals were gilded
before painting may be an indication of a change in the aesthetic concept
during the long-term production of this series. Furthermore, it is possible
that part of the casting was made later, during a different stage, or under
different working conditions. In the case of turtles that were cast after he
had carved the wooden models, it cannot be said with certainty whether Kuster
tried to simplify his work, or whether these animals were made by someone else.
Konzervatorsko-restauratorski radovi na glavnom oltaru Uznesenja Marijina iz župne crkve Uznesenja Blažene Djevice Marije u Vrbniku započeti su 2012. godine u Restauratorskom odjelu Rijeka Hrvatskog ...restauratorskog zavoda (HRZ). Istraživački radovi pokazali su da je središnji dio oltara izvorno potpuno pozlaćen polimentnom pozlatom, dok su bočna krila pozlaćena samo djelomično. Zbog lošeg stanja i osjetljivosti pozlate odlučeno je provesti podljepljivanje i stabiliziranje slikanog sloja upotrebom PEOX-a (tvornički naziv Aquazol). Njegova dobra fizikalna i kemijska svojstva, dugotrajna reverzibilnost i topivost u acetonu omogućuju sigurnu primjenu na osjetljive površine, kao što je polimentna pozlata. Zbog dobrih svojstava i sličnosti s tradicionalnim ljepilom tutkalom, Aquazol je moguće upotrijebiti kao vezivo u izradi polimentne pozlate. U ovom je stručnom radu opisana i valorizirana primjena Aquazola kao zamjene za tutkalo u izradi kredne osnove, polimentne pozlate i podljepljivanja slikanog sloja.
U radu se na nekoliko primjera renesansnih kamenih reljefa i skulptura iz Dalmacije razmatra postojanje polikromije i pozlate kao izvornog sloja. Svi podaci sakupljeni su tijekom ...konzervatorsko-restauratorskih zahvata u posljednjem desetljeću, a dodatno su popraćeni analitičkim analizama. Predstavljene umjetnine izrađene su od domaćeg organogenog vapnenca, vrlo vjerojatno vađenog u kamenolomima otoka Brača, Korčule i Segeta.
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