Dvipusių paveikslų restauravimas, rėminimas ir eksponavimas

LTReikšminiai žodžiai: Dvipusiai paveikslai; Dvipusių paveikslų eksponavimas; Dvipusių paveikslų restauravimas; Dvipusė tapyba; Eksponavimas; Lietuvos dailės muziejaus Prano Gudyno restauravimo centras; Rėminimas; Tapybos restauracija; Tapybos restauravimas; Double-sided painting; Double-sided paintings; Exhibiting; Exhibiting of Double-seded paintings; Framing; Lithuanian Art Museum Pranas Gudynas Restoration Centre; Restoration of Double-sided paintings; Restoration of Painting.

ENConservators of paintings sometimes have to deal with two-sided paintings, created on both sides of the same canvas or panel. Large amount of these double-sided paintings are the sacral works of art. They were used in the solemn church processions, already mentioned at the end 16th century. The most common double-sided paintings are framed in portable altar reredos, sew into processions flags. Portrayal of Saints in double-sided paintings seldom found, paintings intended to carry on a special stretchers or staffs. Among paintings under restoration are a fair number of double-sided secular works. Some of them are painted in realizing special conception, while others are likely created double-sided because of deprivation of materials: lack of canvas or cardboard, artists choose to paint on the other side of those paintings and sketches, which probably was not considered important and successful work. For art historians double-sided paintings very significant and informative, it can reveal the artist’s life circumstances, intentions, viewpoint to his own oeuvre, and so on. During restoration process of a double-sided paintings restorer usually have to accept nonstandard solutions, because it is important not only to keep both sides, but also to find ways and technical-practical decisions, how to expose both sides in exhibition hall. Paintings created on canvas durability due to its support preparation, paint layer structure, thickness and varnish layer’s nature.In double-sided painting, paint layers affect support on both sides, so that adhesive and primer layers penetrated through the oil causing considerable damage to fabric, painting’s fabric oxidizes. Canvas becomes brittle, loose elasticity, painting layer cracks, flakes, begins to crumble, at this moment the fabric’s function as support is reduced. Two-sided paintings can’t be lined with new canvas, as restorer can’t cover the other side of painting. In this case the supports frailty recovered by reinforcing of both sides of painting layers. Double-sided painting’s abrasions and cracks sealed from one side. When choosing sides, restorer need to take into account which side of painting’s lacerations converge preferably, it is also necessary to assess which side of double-sided painting artistic value higher. Very often restorer has to go through many compromises. Double-sided painting usually attached on auxiliary support through the tacking edges. The state and width of remained tacking edges help to decide whether or not to line the old tacking edges with new canvas strips. If the double-sided painting happens to be without tacking edges, restorer can glue up new strips of Japanese paper or tissue paper on one side of the painting’s edges - and after that paste new tacking edges made of canvas. A more superior restoration alternative to stretch painting on a larger auxiliary support with wider tacking edges. In this case on one side next to the edges will be visible the strips of tacking edges, and on the other side we will see the painting “deepened”/sank. [...]. [From the publication]