Technical examination, material characterization, and restoration of the landscape painting by Mıgırdiç Givanian (1848-1906)

Selen Sertab Kayser; Özden Ormancı; Oğuz Emre Kayser

doi:10.14568/cp36639

Autores

Selen Sertab Kayser Mimar Sinan Fine Arts University, Department of Conservation and Restoration of Artworks, Cumhuriyet Mahallesi Silahşör Caddesi No:71, Bomonti/Şişli, 34380 İstanbul, Turkey; Ankara Hacı Bayram Veli University, Conservation of Cultural Property PhD Program, Ankara, Turkey https://orcid.org/0000-0002-9294-7132
Özden Ormancı Mimar Sinan Fine Arts University, Department of Conservation and Restoration of Cultural Property, Cumhuriyet Mahallesi Silahşör Caddesi No:71, Bomonti/Şişli, 34380 İstanbul, Turkey https://orcid.org/0000-0002-1098-3923
Oğuz Emre Kayser Ankara Hacı Bayram Veli University, Conservation of Cultural Property PhD Program, Ankara, Turkey; Mimar Sinan Fine Arts University, Department of Conservation and Restoration of Cultural Property, Cumhuriyet Mahallesi Silahşör Caddesi No:71, Bomonti/Şişli, 34380 İstanbul, Turkey https://orcid.org/0000-0002-0469-026X

DOI:

https://doi.org/10.14568/cp36639

Palavras-chave:

Givanian, Conservação de pinturas a óleo, Pinturas em suporte metálico, Espectroscopia Raman, µ-XRF

Resumo

Este estudo apresenta a documentação, a caraterização dos materiais e o trabalho de restauro realizado a uma pintura a óleo sobre placa metálica, assinada por Mıgırdiç Givanian. Utilizou-se luz visível, ultravioleta e oblíqua, microscopia ótica, raios X, espetroscopia de Raman e fluorescência de micro raios X. A microscopia ótica permitiu conhecer a técnica de pintura e as deteriorações. Determinou-se, por Raman, o uso de uma placa metálica (ferro) e pigmentos, incluindo branco de chumbo, calcite, vermelhão, azul da Prússia, hematite, negro de fumo e gesso. A análise XRF sugeriu a possibilidade de um pigmento verde à base de cobre, amarelo de chumbo-estanho e amarelo de crómio. o restauro, limpou-se a da camada de verniz amarelecida da superfície e removeram-se os retoques localizados na superfície da pintura. Como acabamento, a superfície foi envernizada e retocada. Este estudo é significativo, pois representa o primeiro trabalho exaustivo efetuado sobre uma pintura assinada por Givanian.

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