O reentelamento com compostos de cera-resina: o aprendizado de Edson Motta no Fogg Conservation Center e a adaptação à realidade brasileira

May Paiva; Maria Aguiar; Eduarda Vieira

doi:10.14568/cp2019015

Authors

May Paiva Escola de Museologia, Universidade Federal do Estado do Rio de Janeiro, Av. Pasteur, 458–Urca, 22290-240 Rio de Janeiro, RJ, Brasil https://orcid.org/0000-0002-4608-6554
Maria Aguiar CITAR, Escola das Artes, Universidade Católica Portuguesa, Rua Diogo de Botelho, 1327, 4169-005, Campus da Foz, Porto, Portugal https://orcid.org/0000-0001-5444-975X
Eduarda Vieira CITAR, Escola das Artes, Universidade Católica Portuguesa, Rua Diogo de Botelho, 1327, 4169-005, Campus da Foz, Porto, Portugal https://orcid.org/0000-0002-0620-080X

DOI:

https://doi.org/10.14568/cp2019015

Keywords:

Edson Motta, Fogg Conservation Center, Brazil, Painting conservation, Wax-resin lining

Abstract

After Edson Motta’s graduation from the Fogg Conservation Center, his experience contributed to the practice of conservation in Brazil through the introduction of new materials and the technique of wax-resin lining. However, this technique has drawbacks when applied in a country of tropical climate and few resources. It is important, when considering the use of this approach, to be mindful of the conservator’s historical role, which can reveal why this technique was, very likely, the best choice for the conservation of the vast patrimony of canvas paintings in Brazil.

Received: 2019-5-17
Revised: 2020-2-19
Accepted: 2020-2-19
Online: 2020-11-4
Publication: 2021-2-10

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