Gašpina mlinica u Solinu - Ministarstvo kulture RH

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196 | Godišnjak zaštite spomenika <strong>kulture</strong> Hrvatske 33/34-2009./2010. (2004.): Non-destructive XRF analysis of paintings, Nuclear Instruments and Methods B, 226:53-59, London Oxford Moioli, P. Seccaroni, C. (2000.): Analysis of art objects using a portable x-ray fluorescence spectrometer, X-Ray Spectrometry, 29:48-52, Chichester Karydas, A.K., Kotzamani, D., Bernard, R., Barrandon, J.N., Zarkadas, Ch. (2004.): A compositional study of a museum jewellery collection (7th–1st BC) by means of a portable XRF spectrometer, Nuclear Instruments and Methods B, 226:15-28, London, Oxford Cesareo, R., Castellano, A., Buccolieri, G., Marabelli, M. (1999.): A portable apparatus for energy-dispersive X-ray fluorescence analysis of sulfur and chlorine in frescoes and stone monuments, Nuclear Instruments and Methods B, 155:326-330, London, Oxford Desnica, V., Škarić, K., Jembrih-Simbuerger, D., Fazinić, S., Jakšić, M., Mudronja, D., Paviličić, M., Peranić, I., Schreiner, M. (2008.): Portable XRF as a valuable device for preliminary in situ pigment investigation of wooden inventory in the Trski Vrh Church in Croatia, Applied Physics A - Materials Science and Processing, 1 (92):19-23, Goettingen Jakšić, M., Radović, I.B., Bogovac, M., Desnica, V., Fazinić, S., Karlušić, M., Medunić, Z., Muto, H., Pastuović, Ž., Siketić, Z., Skukan, N., Tadić, T. (2007): New capabilities of the Zagreb ion microbeam system, Nuclear Instruments and Methods B, 261:541-545, London ,Oxford Desnica, V., Furic, K., Hochleitner, B., Mantler, M. (2003.): A comparative analysis of five chrome green pigments Summary MOBILE DEVICE FOR X-RAY FLUORESCENCE ANALYSIS (XRF) AS A UNIQUE INSTRUMENT FOR IN SITU ELEMENTAL CHARACTERIZATION OF CULTURAL HERITAGE GOODS This paper deals with the advantages of using the portable device for X-ray fluorescence analysis – XRF, as the first step in the in situ characterization of materials on cultural heritage objects. XRF is a method based on stimulating atoms of the examined sample by X-rays resulting in the emission of fluorescence radiation from the material characteristic for the element composition. This information gives us both a qualitative as well as quantitative indication of the elemental composition of the sample. XRF is a non-destructive, universal and relatively simple analytical method for the multi-elemental analysis of artefacts and as such is generally perceived as one of the most basic physical research methods in the conservation-restoration field. In its portable form, used in this work, this technique was also non-invasive and only based on different spectroscopic techniques, Spectrochimica Acta Part B, 58:681-687, London, Oxford Feller, R.L., Roy, A., FitzHugh, E.W., Berrie B. (2007.): Artists’ Pigments, A Handbook of Their History and Charactersitics, Vol. 1-4, Washington, Oxford Mudronja, D., Jakšić, M., Fazinić, S., Božičević, I., Desnica, V., Woodhead, J., Stos-Gale, Z. (2010.): Croatian Appoxiomenos alloy composition and lead provenance study, Journal of archaeological science, 37 (7):1396-1402, London, Oxford, Toronto Ingo, G.M., De Caro, T., Riccucci, C., Angelini, E., Grassini, S., Balbi, S., Bernardini, P., Salvi, D., Bousselmi, L., Çilingiroğlu, A., Gener., M., Gouda, V.K., Al Jarrah, O., Khosroff, S., Mahdjoub, Z., Al Saad, Z., El-Saddik, W., Vassiliou, P. (2006.): Large scale investigation of chemical composition, structure and corrosion mechanism of bronze archaeological artefacts from Mediterranean basin, Applied Physics A - Materials Science and Processing, 83:513-520, Goettingen Craddock, P.T. (1976.): The composition of copper alloys used by the Greek, Etruscan and Roman civilizations. 1. The Greeks before the Archaic period, Journal of Archaeological Science, 3:93-113, London, Oxford, Toronto Craddock, P.T. (1977.): The composition of the copper alloys used by the Greek, Etruscan and Roman civilizations. 2. The Archaic, Classical and Hellenistic Greeks, Journal of Archaeological Science, 4:103-123, London, Oxford, Toronto those problems that were not solved by this method in the field were analyzed additionally with the use of specialized laboratory equipment. Therefore, the XRF results from the field also serve as valuable guidelines for the further systematic and targeted taking of samples reducing thus the need for sample taking to a minimum. This feature is of special importance when dealing with the investigation of valuable and unique objects, which is almost a rule in this field. The advantages, merits and benefits of this method have been demonstrated on a number of examples from practice on which the author of this paper worked and which include the field investigation of the pigments of wooden polychromy in the Church of St. Mary of Jerusalem in Trški Vrh and determining the composition of the alloy of the sculpture of the Croatian Apoxiomen.
Goran Bulić Konzervatorsko-restauratorski radovi na slikama Bartula Ivankovića iz fundusa Pomorskog i povijesnog muzeja Hrvatskog primorja u Rijeci Goran Bulić Hrvatski restauratorski zavod Restauratorski odjel Rijeka HR - 51 000 Rijeka, Užarska 26 Ključne riječi: Bartul Ivanković, slikarstvo devetnaestog stoljeća, konzervatorsko-restauratorski radovi Key words: Bartul Ivanković, 19th century painting, conservationrestoration works Na sedam slika brodova, autora Bartula Ivankovića, iz fundusa Pomorskog i povijesnog muzeja Hrvatskog primorja u Rijeci izvedeni su cjelokupni konzervatorsko-restauratorski zahvati. Restauracija je omogućila uvid u stvarni stupanj oštećenja umjetnina, kao i u uzroke nastanka navedenih oštećenja. Na primjeru spomenutih slika analizira se problematika karakterističnih oštećenja za uljane slike na platnu iz XIX. stoljeća. UVOD Bartul Ivanković, sin pomorca ili trgovca iz Boke kotorske, rođen je u Istanbulu 1815. godine, a preminuo je u Trstu 1898. godine. Samouki je slikar koji je stvarao u razdoblju između 1850. i 1898. godine. Iz nekih se njegovih pisama doznaje da je prethodno završio nautičku školu i neko vrijeme služio kao časnik trgovačke mornarice, a naposljetku se posvetio isključivo slikanju. Tema su njegovih radova prikazi brodova – jedrenjaka i parobroda. Kao vrsni poznavatelj brodova toga vremena, slikao ih je vjerno, posvećujući pažnju svakom detalju. U naslijeđe je ostavio oko 400 sačuvanih slika jedrenjaka i parobroda1 , koje se danas nalaze u muzejima, crkvama i privatnim zbirkama. Slike su uglavnom naručivali pomorci ili brodovlasnici koji su s brodovima bili sudbinski i emotivno vezani. Pomorci su njegove slike unosili u kuće kao uspomenu na daleka putovanja, a brodovlasnici kao statusne simbole. Čovjek i brod oduvijek imaju posebnu vezu, pomorci koji su veći dio života proveli na moru 1 Čučić, V. (2006.): Bokelji između Boke i Trsta, Naše more, 53 (1-2): 85, Dubrovnik. UDK: 75.025.475Ivanković, B. Stručni rad/Professional Paper Primljen/Received: 25. 6. 2010. vezivali su se za svoje brodove o kojima im je i život ovisio. Brodovima se i danas daju imena, brod se krsti prije porinuća, a nekada se brod na kraju svoga »životnog puta« i pokapao – ritualno spaljivao. Ono što vrijedi za ljude, vrijedi i za brodove; jednom kršteni, oni imaju pravo na svoju biografiju: mjesto i datum rođenja, mjesto i datum nerijetko junačke smrti, i u međuvremenu, avanturama više ili manje ispunjen životni put; oni sklapaju brakove s vlasnicima, a pritom katkad mijenjaju imena. S vremenom, stječu pravo i na svoj portret. 2 STANJE SLIKA PRIJE KONZERVATORSKO- RESTAURATORSKIH RADOVA I ANALIZA UZROKA PROPADANJA U sklopu redovnoga Programa zaštite očuvanja kulturnih dobara Ministarstva <strong>kulture</strong> u Hrvatskome restauratorskom zavodu, Restauratorski odjel u Rijeci izveo je restauraciju na sedam slika jedrenjaka 3 autora Bartula Ivankovića iz fundusa Pomorskog i povijesnog muzeja Hrvatskog primorja u Rijeci. Cjeloviti konzervatorsko - restauratorski postupak izveden je na sljedećim slikama: »Bark Trojedinica«, 1873., ulje/platno, 43 x 72 cm; »Brik Ludmila i bark Carmella«, 1872., ulje/platno, 42 x 70 cm; »Bark conte Geza Szapary«, 1892., ulje/platno 43 x 72 cm; »Bark Industre«, 1876., ulje/platno , 50 x 77 cm; »Bark Ruma«, 1876., ulje/platno, 44 x 72 cm; »Brik Jane«, 1881., ulje/platno, 45 x 75 cm; »Brigatin Ida«, 1876., ulje/platno, 54 x 73 cm. 4 Više je uzroka koji su 2 Mance, I. (2007.): Brod u slici, Kvartal, 4 (1): 49, Zagreb. 3 Jedrenjaci naslikani na navedenim slikama jesu bark i brik, oceanski tipovi jedrenjaka iz devetnaestog stoljeća. 4 Podaci o umjetnini: tehnika/materijal, preuzeti su od Pomorskog i povijesnog muzeja Hrvatskog primorja u Rijeci. Na slikama nije provedeno uzorkovanje sloja preparacije, bojenog sloja i laka. Uzimanje uzoraka za laboratorijsku analizu invazivna je metoda istražnih radova za kojom nije bilo opravdane potrebe. | 197
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Page 214 and 215: 212 | In memoriam ĐURO ŠIMIČIĆ
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