6th International Meeting on Retouching of Cultural Heritage. RECH6
The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents em... more The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraph...
The paper presents an overview of the most relevant and interesting examples of mural painting in... more The paper presents an overview of the most relevant and interesting examples of mural painting in secular buildings in Slovenia and a selection of recently conserved-restored mural paintings in secular buildings with an emphasis on applied materials, techniques and conceptions. Some specific issues concerning the conservation and renovation of secular buildings in Slovenia in relation to the preserved paintings are stressed, and the common problems faced by conservators-restorers are discussed.
Modern and contemporary wall paintings and mosaics adorn
numerous secular and religious buildings... more Modern and contemporary wall paintings and mosaics adorn numerous secular and religious buildings around Slovenia. Te number of modern and contemporary works of art is not known, as an inventory of all the items that would be regularly updated has not yet been created. Consequently, there is a lack of an overview of the state of the preservation of, or threat to, these artworks, and a comprehensive vision of their preservation and protection. In addition, primarily decorative mosaics and wall paintings usually do not attract much professional interest. Wall paintings, mosaics and other ornamental elements, such as stuccos, are parts of buildings that were added to them based on a consideration of the rooms in which they are located. For this reason, their removal from the walls is acceptable only in exceptional cases. Tis principle should be taken into account before planning the renovation of a building or conservingrestoring any of their artistic features. A special challenge for us is the situation – unfortunately occurring too o fen – in which we try to persuade the owners of the buildings, usually private ones, that it is at all worth preserving high-quality modern or contemporary artistic elements. When planning the conservation-restoration treatments of modern or contemporary wall paintings and mosaics, we fnd that they are o fen of a lower technological quality than those from the older periods because, throughout the centuries, knowledge about the high-quality execution of such artworks was largely lost. When we deal with more modern materials and techniques, we are o fen faced with the problems of a poorer quality of the materials or a poorer artistic execution, due to which the artworks deteriorate faster and their conservation-restoration is more demanding. For this reason, it is important that we pay more attention to researching modern and contemporary artistic and conservation-restoration materials and techniques. Important elements of preservation are also regular monitoring of the state of the artworks and their regular maintenance. We present some examples of conservingrestoring modern wall paintings and mosaics in Slovenia, examples of good practices and suggestions for improvements in the area of preserving and conserving-restoring modern and contemporary wall paintings and mosaics.
V minulih dveh študijskih letih so študentje 4. letnika Oddelka za restavratorstvo Akademije za l... more V minulih dveh študijskih letih so študentje 4. letnika Oddelka za restavratorstvo Akademije za likovno umetnost Univerze v Ljubljani restavrirali pet večjih fragmentov srednjeveških fresk, ki jih že desetletja hrani Oddelek za umetnostno zgodovino Filozofske fakultete v Ljubljani. Fragmenti izvirajo iz p. c. Marijinega oznanjenja v Crngrobu in p. c. sv. Kancijana v Vrzdencu pri Horjulu, kot so pokazale kasnejše raziskave, na Filozofsko fakulteto pa so morali priti za časa Franceta Steleta. Bili so v zelo slabem stanju in hranjeni v neprimernih razmerah, zato je bil skrajni čas za njihovo restavriranje in boljšo prezentacijo, na katero pa še čakajo.
The numerous paintings on the facades of churches, chapels, monuments, castles, town houses and r... more The numerous paintings on the facades of churches, chapels, monuments, castles, town houses and rural houses demonstrate that the custom of decorating exteriors was widespread in Slovenia from the Middle Ages onwards. This segment of open-air artistic heritage is usually badly exposed to harmful natural and human environmental factors and is therefore one of the heritage types most at risk. With a suitably methodologically supported protection strategy it is possible to monitor the extent, state of conservation and risk status of wall paintings and take timely steps to protect them. To this end an experimental project has been designed, within the framework of which a model of an integrated approach to conserving wall paintings has been developed and applied. The result of the collection of data in the field and in historical records is an extensive database on the state of conservation and the risk status of more than 200 medieval wall paintings on the exteriors of more than 130 buildings. Some of the more important data on the condition of this segment of heritage are presented in this paper. The model is sufficiently broad to be applicable to both interior and exterior wall paintings and, with suitable adjustments, to other segments of art heritage. It can be linked to the methodologies of related disciplines (architecture, ethnology, archaeology, etc.) and its results can be incorporated into a corresponding cultural heritage information system.
Damaging phenomena in the form of small pits or eruptions are occurring on surfaces of various ki... more Damaging phenomena in the form of small pits or eruptions are occurring on surfaces of various kinds of natural or artificial porous materials. They are particularly harmful in plasters of historic wall paintings since they are the cause for irreparable loss of the original paint layer. Therefore, it is important to understand the mechanism of pitting to apply appropriate conservation and restoration measures for prevention or reduction of further decay. In Slovenia the pitting decay was studied in more detail for the first time in the 1990s in the case of Gothic wall paintings of the church in Hrastovlje (by I. Bogovčič and I. Nemec). The researchers have proved that pitting can be caused by repeated swelling and shrinkage of hygroscopic particles in plaster. Further study of the phenomena along with in situ and the laboratory research in the last ten years have given even more insight into the issue. In general, the reason for eruptions which later transform into pitting lies in eruptive particles occurring in the material. These particles produce pressures to the surrounding material through changes in form and volume due to moisture and temperature changes. Depth, size and other patterns of pitting differ, regarding the type and position of the eruptive particle since it can be found deeper in plaster or closely under the paint surface. Water-soluble salts are most often described as eruptive factors. In situ investigations on more than 200 medieval wall paintings on exteriors of monuments in Slovenia have shown that the pitting decay is present on nearly 80% of all the paintings and in more than one tenth the phenomena seriously endanger the painting. The experimental research on test samples in the laboratory has confirmed that the water-soluble salts are the reason for pitting phenomena. Besides, the eruptive potential of crystallized water was also detected.
The Travel of Saint Christopher
(Upper Carniola`s Road)
The Way for Reflection on the Preservati... more The Travel of Saint Christopher (Upper Carniola`s Road)
The Way for Reflection on the Preservation Strategy for the Exterior Mural Paintings
Wall paintings on the exteriors of monuments and other outdoor artefacts represent a notable segment of visual arts heritage in Slovenia. Among the most characteristic public images from Middle Ages onwards was that of St. Christopher, the patron saint of travelers. His image with the Christ-child on his shoulder is often seen on facades of religious buildings and is presented on nearly half of all remaining medieval wall paintings on church exteriors. This scene is often accompanied by other images of saints, scenes of Christ's Passion or depictions of Mary. The image of St. Christopher is usually large enough to be seen clearly from the road, the nearby churchyard, the town square, or the village.
Today, a large part of the function of the image has faded. Also physical fading and other changes and damages occurring to exterior wall paintings, as well as lack of maintenance and inappropriate renovations, are often a clear sign of their vulnerability. However, these paintings are still works of art with an aesthetic and historical nature. And, as such, it is imperative that they are preserved. Consequently, the route offers an opportunity to take a look at the patron St. Christopher and many other mostly much endangered exterior images and to reflect on the issue of our patronage and possible protection, either from the sudden or the slow but sure process of "dying". The condition of exterior medieval paintings selected for the route is deliberately different, with the intention of exposing various conservation problems. The way of 12 and more wall paintings of St. Christopher passes through the villages and medieval towns surrounded by hills, mountains, rivers and lakes of the Gorenjska (Upper Carniola) region of Slovenia.
Mednarodne listine in dokumenti ICOMOS/
ICOMOS International Charters and Documents
Zbirka DOKTR... more Mednarodne listine in dokumenti ICOMOS/ ICOMOS International Charters and Documents
Zbirka DOKTRINA KONSERVATORSTVA/ Series CONSERVATION DOCTRINE
6th International Meeting on Retouching of Cultural Heritage. RECH6
The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents em... more The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraph...
The paper presents an overview of the most relevant and interesting examples of mural painting in... more The paper presents an overview of the most relevant and interesting examples of mural painting in secular buildings in Slovenia and a selection of recently conserved-restored mural paintings in secular buildings with an emphasis on applied materials, techniques and conceptions. Some specific issues concerning the conservation and renovation of secular buildings in Slovenia in relation to the preserved paintings are stressed, and the common problems faced by conservators-restorers are discussed.
Modern and contemporary wall paintings and mosaics adorn
numerous secular and religious buildings... more Modern and contemporary wall paintings and mosaics adorn numerous secular and religious buildings around Slovenia. Te number of modern and contemporary works of art is not known, as an inventory of all the items that would be regularly updated has not yet been created. Consequently, there is a lack of an overview of the state of the preservation of, or threat to, these artworks, and a comprehensive vision of their preservation and protection. In addition, primarily decorative mosaics and wall paintings usually do not attract much professional interest. Wall paintings, mosaics and other ornamental elements, such as stuccos, are parts of buildings that were added to them based on a consideration of the rooms in which they are located. For this reason, their removal from the walls is acceptable only in exceptional cases. Tis principle should be taken into account before planning the renovation of a building or conservingrestoring any of their artistic features. A special challenge for us is the situation – unfortunately occurring too o fen – in which we try to persuade the owners of the buildings, usually private ones, that it is at all worth preserving high-quality modern or contemporary artistic elements. When planning the conservation-restoration treatments of modern or contemporary wall paintings and mosaics, we fnd that they are o fen of a lower technological quality than those from the older periods because, throughout the centuries, knowledge about the high-quality execution of such artworks was largely lost. When we deal with more modern materials and techniques, we are o fen faced with the problems of a poorer quality of the materials or a poorer artistic execution, due to which the artworks deteriorate faster and their conservation-restoration is more demanding. For this reason, it is important that we pay more attention to researching modern and contemporary artistic and conservation-restoration materials and techniques. Important elements of preservation are also regular monitoring of the state of the artworks and their regular maintenance. We present some examples of conservingrestoring modern wall paintings and mosaics in Slovenia, examples of good practices and suggestions for improvements in the area of preserving and conserving-restoring modern and contemporary wall paintings and mosaics.
V minulih dveh študijskih letih so študentje 4. letnika Oddelka za restavratorstvo Akademije za l... more V minulih dveh študijskih letih so študentje 4. letnika Oddelka za restavratorstvo Akademije za likovno umetnost Univerze v Ljubljani restavrirali pet večjih fragmentov srednjeveških fresk, ki jih že desetletja hrani Oddelek za umetnostno zgodovino Filozofske fakultete v Ljubljani. Fragmenti izvirajo iz p. c. Marijinega oznanjenja v Crngrobu in p. c. sv. Kancijana v Vrzdencu pri Horjulu, kot so pokazale kasnejše raziskave, na Filozofsko fakulteto pa so morali priti za časa Franceta Steleta. Bili so v zelo slabem stanju in hranjeni v neprimernih razmerah, zato je bil skrajni čas za njihovo restavriranje in boljšo prezentacijo, na katero pa še čakajo.
The numerous paintings on the facades of churches, chapels, monuments, castles, town houses and r... more The numerous paintings on the facades of churches, chapels, monuments, castles, town houses and rural houses demonstrate that the custom of decorating exteriors was widespread in Slovenia from the Middle Ages onwards. This segment of open-air artistic heritage is usually badly exposed to harmful natural and human environmental factors and is therefore one of the heritage types most at risk. With a suitably methodologically supported protection strategy it is possible to monitor the extent, state of conservation and risk status of wall paintings and take timely steps to protect them. To this end an experimental project has been designed, within the framework of which a model of an integrated approach to conserving wall paintings has been developed and applied. The result of the collection of data in the field and in historical records is an extensive database on the state of conservation and the risk status of more than 200 medieval wall paintings on the exteriors of more than 130 buildings. Some of the more important data on the condition of this segment of heritage are presented in this paper. The model is sufficiently broad to be applicable to both interior and exterior wall paintings and, with suitable adjustments, to other segments of art heritage. It can be linked to the methodologies of related disciplines (architecture, ethnology, archaeology, etc.) and its results can be incorporated into a corresponding cultural heritage information system.
Damaging phenomena in the form of small pits or eruptions are occurring on surfaces of various ki... more Damaging phenomena in the form of small pits or eruptions are occurring on surfaces of various kinds of natural or artificial porous materials. They are particularly harmful in plasters of historic wall paintings since they are the cause for irreparable loss of the original paint layer. Therefore, it is important to understand the mechanism of pitting to apply appropriate conservation and restoration measures for prevention or reduction of further decay. In Slovenia the pitting decay was studied in more detail for the first time in the 1990s in the case of Gothic wall paintings of the church in Hrastovlje (by I. Bogovčič and I. Nemec). The researchers have proved that pitting can be caused by repeated swelling and shrinkage of hygroscopic particles in plaster. Further study of the phenomena along with in situ and the laboratory research in the last ten years have given even more insight into the issue. In general, the reason for eruptions which later transform into pitting lies in eruptive particles occurring in the material. These particles produce pressures to the surrounding material through changes in form and volume due to moisture and temperature changes. Depth, size and other patterns of pitting differ, regarding the type and position of the eruptive particle since it can be found deeper in plaster or closely under the paint surface. Water-soluble salts are most often described as eruptive factors. In situ investigations on more than 200 medieval wall paintings on exteriors of monuments in Slovenia have shown that the pitting decay is present on nearly 80% of all the paintings and in more than one tenth the phenomena seriously endanger the painting. The experimental research on test samples in the laboratory has confirmed that the water-soluble salts are the reason for pitting phenomena. Besides, the eruptive potential of crystallized water was also detected.
The Travel of Saint Christopher
(Upper Carniola`s Road)
The Way for Reflection on the Preservati... more The Travel of Saint Christopher (Upper Carniola`s Road)
The Way for Reflection on the Preservation Strategy for the Exterior Mural Paintings
Wall paintings on the exteriors of monuments and other outdoor artefacts represent a notable segment of visual arts heritage in Slovenia. Among the most characteristic public images from Middle Ages onwards was that of St. Christopher, the patron saint of travelers. His image with the Christ-child on his shoulder is often seen on facades of religious buildings and is presented on nearly half of all remaining medieval wall paintings on church exteriors. This scene is often accompanied by other images of saints, scenes of Christ's Passion or depictions of Mary. The image of St. Christopher is usually large enough to be seen clearly from the road, the nearby churchyard, the town square, or the village.
Today, a large part of the function of the image has faded. Also physical fading and other changes and damages occurring to exterior wall paintings, as well as lack of maintenance and inappropriate renovations, are often a clear sign of their vulnerability. However, these paintings are still works of art with an aesthetic and historical nature. And, as such, it is imperative that they are preserved. Consequently, the route offers an opportunity to take a look at the patron St. Christopher and many other mostly much endangered exterior images and to reflect on the issue of our patronage and possible protection, either from the sudden or the slow but sure process of "dying". The condition of exterior medieval paintings selected for the route is deliberately different, with the intention of exposing various conservation problems. The way of 12 and more wall paintings of St. Christopher passes through the villages and medieval towns surrounded by hills, mountains, rivers and lakes of the Gorenjska (Upper Carniola) region of Slovenia.
Mednarodne listine in dokumenti ICOMOS/
ICOMOS International Charters and Documents
Zbirka DOKTR... more Mednarodne listine in dokumenti ICOMOS/ ICOMOS International Charters and Documents
Zbirka DOKTRINA KONSERVATORSTVA/ Series CONSERVATION DOCTRINE
Uploads
Papers by Blaž Šeme
numerous secular and religious buildings around Slovenia. Te number of modern and contemporary works of art is not
known, as an inventory of all the items that would be regularly
updated has not yet been created. Consequently, there is a lack
of an overview of the state of the preservation of, or threat to,
these artworks, and a comprehensive vision of their preservation
and protection. In addition, primarily decorative mosaics and
wall paintings usually do not attract much professional interest.
Wall paintings, mosaics and other ornamental elements, such
as stuccos, are parts of buildings that were added to them based
on a consideration of the rooms in which they are located. For
this reason, their removal from the walls is acceptable only in
exceptional cases.
Tis principle should be taken into account
before planning the renovation of a building or conservingrestoring any of their artistic features. A special challenge for
us is the situation – unfortunately occurring too o
fen – in
which we try to persuade the owners of the buildings, usually
private ones, that it is at all worth preserving high-quality
modern or contemporary artistic elements. When planning the
conservation-restoration treatments of modern or contemporary
wall paintings and mosaics, we
fnd that they are o
fen of a lower
technological quality than those from the older periods because,
throughout the centuries, knowledge about the high-quality
execution of such artworks was largely lost. When we deal with
more modern materials and techniques, we are o
fen faced with
the problems of a poorer quality of the materials or a poorer
artistic execution, due to which the artworks deteriorate faster
and their conservation-restoration is more demanding. For this
reason, it is important that we pay more attention to researching
modern and contemporary artistic and conservation-restoration
materials and techniques. Important elements of preservation
are also regular monitoring of the state of the artworks and their
regular maintenance. We present some examples of conservingrestoring modern wall paintings and mosaics in Slovenia,
examples of good practices and suggestions for improvements
in the area of preserving and conserving-restoring modern and
contemporary wall paintings and mosaics.
Conference Presentations by Blaž Šeme
(Upper Carniola`s Road)
The Way for Reflection on the Preservation Strategy for the Exterior Mural Paintings
Wall paintings on the exteriors of monuments and other outdoor artefacts represent a notable segment of visual arts heritage in Slovenia. Among the most characteristic public images from Middle Ages onwards was that of St. Christopher, the patron saint of travelers. His image with the Christ-child on his shoulder is often seen on facades of religious buildings and is presented on nearly half of all remaining medieval wall paintings on church exteriors. This scene is often accompanied by other images of saints, scenes of Christ's Passion or depictions of Mary. The image of St. Christopher is usually large enough to be seen clearly from the road, the nearby churchyard, the town square, or the village.
Today, a large part of the function of the image has faded. Also physical fading and other changes and damages occurring to exterior wall paintings, as well as lack of maintenance and inappropriate renovations, are often a clear sign of their vulnerability. However, these paintings are still works of art with an aesthetic and historical nature. And, as such, it is imperative that they are preserved. Consequently, the route offers an opportunity to take a look at the patron St. Christopher and many other mostly much endangered exterior images and to reflect on the issue of our patronage and possible protection, either from the sudden or the slow but sure process of "dying". The condition of exterior medieval paintings selected for the route is deliberately different, with the intention of exposing various conservation problems. The way of 12 and more wall paintings of St. Christopher passes through the villages and medieval towns surrounded by hills, mountains, rivers and lakes of the Gorenjska (Upper Carniola) region of Slovenia.
Books by Blaž Šeme
ICOMOS International Charters and Documents
Zbirka DOKTRINA KONSERVATORSTVA/
Series CONSERVATION DOCTRINE
numerous secular and religious buildings around Slovenia. Te number of modern and contemporary works of art is not
known, as an inventory of all the items that would be regularly
updated has not yet been created. Consequently, there is a lack
of an overview of the state of the preservation of, or threat to,
these artworks, and a comprehensive vision of their preservation
and protection. In addition, primarily decorative mosaics and
wall paintings usually do not attract much professional interest.
Wall paintings, mosaics and other ornamental elements, such
as stuccos, are parts of buildings that were added to them based
on a consideration of the rooms in which they are located. For
this reason, their removal from the walls is acceptable only in
exceptional cases.
Tis principle should be taken into account
before planning the renovation of a building or conservingrestoring any of their artistic features. A special challenge for
us is the situation – unfortunately occurring too o
fen – in
which we try to persuade the owners of the buildings, usually
private ones, that it is at all worth preserving high-quality
modern or contemporary artistic elements. When planning the
conservation-restoration treatments of modern or contemporary
wall paintings and mosaics, we
fnd that they are o
fen of a lower
technological quality than those from the older periods because,
throughout the centuries, knowledge about the high-quality
execution of such artworks was largely lost. When we deal with
more modern materials and techniques, we are o
fen faced with
the problems of a poorer quality of the materials or a poorer
artistic execution, due to which the artworks deteriorate faster
and their conservation-restoration is more demanding. For this
reason, it is important that we pay more attention to researching
modern and contemporary artistic and conservation-restoration
materials and techniques. Important elements of preservation
are also regular monitoring of the state of the artworks and their
regular maintenance. We present some examples of conservingrestoring modern wall paintings and mosaics in Slovenia,
examples of good practices and suggestions for improvements
in the area of preserving and conserving-restoring modern and
contemporary wall paintings and mosaics.
(Upper Carniola`s Road)
The Way for Reflection on the Preservation Strategy for the Exterior Mural Paintings
Wall paintings on the exteriors of monuments and other outdoor artefacts represent a notable segment of visual arts heritage in Slovenia. Among the most characteristic public images from Middle Ages onwards was that of St. Christopher, the patron saint of travelers. His image with the Christ-child on his shoulder is often seen on facades of religious buildings and is presented on nearly half of all remaining medieval wall paintings on church exteriors. This scene is often accompanied by other images of saints, scenes of Christ's Passion or depictions of Mary. The image of St. Christopher is usually large enough to be seen clearly from the road, the nearby churchyard, the town square, or the village.
Today, a large part of the function of the image has faded. Also physical fading and other changes and damages occurring to exterior wall paintings, as well as lack of maintenance and inappropriate renovations, are often a clear sign of their vulnerability. However, these paintings are still works of art with an aesthetic and historical nature. And, as such, it is imperative that they are preserved. Consequently, the route offers an opportunity to take a look at the patron St. Christopher and many other mostly much endangered exterior images and to reflect on the issue of our patronage and possible protection, either from the sudden or the slow but sure process of "dying". The condition of exterior medieval paintings selected for the route is deliberately different, with the intention of exposing various conservation problems. The way of 12 and more wall paintings of St. Christopher passes through the villages and medieval towns surrounded by hills, mountains, rivers and lakes of the Gorenjska (Upper Carniola) region of Slovenia.
ICOMOS International Charters and Documents
Zbirka DOKTRINA KONSERVATORSTVA/
Series CONSERVATION DOCTRINE