Dviejų angelų skulptūrų konservavimas

LTReikšminiai žodžiai: Akmenė; Dviejų angelų skulptūros; Konservavimas; Konservavimo metodika; Medžio drožiniai; Ona Šimkienė; Polichromuota skulptūra; Prano Gudyno restauracijos centras; Restauravimas; Tautodailininkė; Akmenė; Conservation; Conservation methodology; Folk artist; Ona Šimkienė; Polychromatic sculpture; Pranas Gudynas Centre for Restoration; Restoration; Sculptures of two angels; Wood carvings.

ENOna Šimkienė (1929–2006) from Akmenė was the only known wood sculptor woman in Šiauliai County Akmenė municipality. Because of her carving she was famous in all over Šiauliai county. In 2009 this woman became a winner of the most honorable award for a folk artist – the Paulius Galaunė Prize. The condintion of coloured O. Šimkienė’s sculptures at the moment stored in Akmenė Area Museum is quite poor. The artist use to be paying more attention to the expression of her ideas that to their technical implementation. In some cases she used to select paints more suitable for embodying of her vision, however, not so well interacting in between. uite often she painted on the wood without proper preparation of it. That is why in the course of time the polychromatic layer has degraded, paint started to wriggle and sculptures had to be preserved immediately. Some time ago a pair of painted sculptures (“Angel” – h 39 cm and “Kneeler Angel” – h 33 cm) created in 1982 by O. Šimkienė had been brought to Lithuanian Art Museum’s Pranas Gudynas Centre for Restoration. They were conserved there. Author of this publication discusses the selection of sculptures’ conservation techniques and the proceeding of this work itself.At the end of the article author highlights the fact that wooden carving should be conserved only complying with a set of technological guidelines. Conservation must guarantee work’s survival and durability. It is important to assure the use of compatible materials that could bond to each other quite well in order to save an authentic image during expanding and shrinking of wooden material conditioned by various atmospheric conditions. Long lasting observation shows that folk artists’ reluctance to admit technological requirements of paining wooden sculpture and carvings in the course of time can noticeably reduce the value of their creations and to destroy embodiments even of the finest ideas. [From the publication]