Campos de intervención

CANVAS PAINTINGS

The organic materials that constitute fabric supports deteriorate to a greater or lesser extent over time, losing their characteristics of elasticity and having a negative impact on the upper preparation and paint layers, causing losses in adhesion and flaking. Furthermore, inadequate conservation conditions and frequent interventions in the past, such as excessive cleaning and repainting, contribute to the deterioration of this type of artwork. The processes of restoring canvas paintings are carried out using different procedures and methodologies depending on the construction technique, the characteristics of the artwork and its state of conservation. The process of determining the intervention method begins with a preliminary study of the work followed by the application of scientific research techniques such as X-ray and analytical stratigraphy studies when deemed necessary. Graphic and photographic documentation of the initial state and different phases of the restoration process are essential to the project.

PANEL PAINTINGS

The restoration and conservation of panel paintings requires a thorough understanding of the complex structure of the wood, from the original conception and construction technique to the characteristics of the wood used and how the elements were cut and joined. Furthermore, specific conservation aspects must be considered, such how the support has reacted to various environmental influences and their impact on the preparation and paint layers as well as any biodeterioration and possible negative restoration interventions that may have been done on these delicate supports. The study and intervention methodology is adapted to the characteristics and state of conservation of each individual work of art, beginning with a preliminary study of the work followed by the application of scientific research techniques such as X-ray and analytical stratigraphy studies when deemed necessary. Graphic and photographic documentation of the initial state and different phases of the restoration process are essential to the project.

POLYCHROMED SCULPTURE

While polychromed wooden sculpture may seem to have some features in common with panel painting to the naked eye, there are notable differences regarding the construction technique. Polychromed wooden sculpture thus requires extensive knowledge of the construction technique used with the support, how the elements were cut and joined, any possible hollows and any additional component parts, such as points of superimposition between the polychromy and the base preparation layers. In this respect, polychromed sculpture must be regarded as a single set of variables – support, preparation and colour – since these elements interact, and their characteristics and functions determine the kinds of reactions that occur in these types of artworks. The study and intervention methodology is adapted to the characteristics and state of conservation of each individual work of art, beginning with a preliminary study of the work followed by the application of scientific research techniques such as X-ray and analytical stratigraphy studies when deemed necessary. With these artworks, this type of study is particularly important to obtain precise information about any possible past interventions, such as partial or total repolychroming, which must be taken into account before beginning any further interventions. Graphic and photographic documentation of the initial state and different phases of the restoration process are essential to the project.

DECORATIVE ARTS

The decorative arts encompass a large group of cultural properties constructed using different materials and techniques. Our work mainly focuses on restoring polychromed wooden objects. The study and intervention methodology is adapted to the characteristics and state of conservation of each individual work of art, beginning with a preliminary study of the piece. Photographic documentation of the initial state and different phases of the restoration process are essential to the project.

MURAL PAINTINGS

Comprehensive knowledge of painting techniques is fundamental before beginning any restoration intervention and this is particularly true in the area of mural painting, given the broad range of techniques that have been used over time. The complexity of the techniques employed by artists is further complicated by the wide variety of deterioration phenomena encountered, which requires different conservation methodologies. At C.R.A. Conservación y Restauración de Arte, the restoration of mural paintings is carried out by restoration specialists with many years of experience in the sector. The study and intervention methodology is adapted to the characteristics and state of conservation of each painting, beginning with a historico-artistic study and a preliminary study of the artwork, the wall support and the building where it is housed, identifying the possible deterioration factors and applying scientific research techniques such as analytical stratigraphy studies, determining the microclimate and making a thermographic examination of the surfaces. Graphic and photographic documentation of the initial state and different phases of the restoration process are essential to the project.

ALTARPIECES

Altarpieces represent a particularly unique part of the socio-cultural and artistic heritage of their communities, and in many cases continue to play a key role in the liturgy. At C.R.A. Conservación y Restauración de Arte, we follow the methodology for the conservation of polychromed wooden altarpieces established in Methodology for the Conservation of Polychromed Wooden Altarpieces: An International Conference Organized by the Getty Conservation Institute and the Instituto Andaluz de Patrimonio Histórico as well as the principles established in the Carta de los Retablos or Altarpiece Charter, Cartagena de Indias (Columbia), March 2002. Before the intervention begins, a project is drafted and adapted to the characteristics and state of conservation of each individual altarpiece, beginning with a historico-artistic study, an evaluation of the state of conservation, a preliminary study of the work and the construction technique of the component parts and an evaluation of the wall support and the building where the work is housed, identifying possible deterioration factors. The scientific research process consists of an analytical stratigraphy study, a determination of the microclimate and an X-ray examination of the most unique elements. Graphic and photographic documentation of the initial state and different phases of the restoration process are essential to the project.

COPPER PAINTINGS

The use of metal as a painting support as a substitute for or alternative to traditional wood and canvas is partly due to the fact that artists were searching for longer lasting supports with better conservation properties. However, copper paintings pose their own conservation problems. While this type of painting is more resistant than other supports with regard to humidity, xylophagous insects and other biodeteriorating agents, they usually experience significant adhesion problems between the upper strata and the support. Furthermore, metal oxidation in the form of green salts migrates through the upper layers, staining the colour and at times causing chemical reactions with some of the pigments. The study and intervention methodology is adapted to the characteristics and state of conservation of each individual work of art, beginning with a preliminary study of the work. Graphic and photographic documentation of the initial state and different phases of the restoration process are essential to the project.

Intervention areas