Dvipusių paveikslų restauravimo ir eksponavimo ypatumai

LTReikšminiai žodžiai: Dvipusiai paveikslai; Eksponavimas; Eksponavimo ypatumai, tapyba; Restauravimas; Tapybos tyrimai; Double-sided Pictures; Exhibition; Painting; Painting research; Peculiarities of Exhibiting; Restoration; Two-sided paintings.

ENThere have been several double-sided paintings restored in Lithuanian Art Museum’s (LAM) Pranas Gudynas Centre for Restoration. In order to leave both sides of the painting visible various ways of restoration and framing have been selected. Restoration and framing of such paintings is complicated because it evokes many problems and discussions. This article deals with the question: “does all the pictures painted on the both surfaces of the base can be called double-sided?” Author of the article supposes that only those paintings that are painted on both sides intentionally should be considered “certain” double-sided paintings. “Certain” doublesided paintings usually have their both sides thematically interconnected and supplementing each other, whereas on the “non-certain” double-sided picture case the new image by reason of space saving is being created on the other side of an earlier picture which is considered artistically invaluable. Both images usually are not related to each other and in some case are even upside-down orientated. As a result, questions arouse which side of the painting should be exposed as the main.This article deals with the restorations and framings of three “certain” and one “uncertain” double-sided paintings which were accomplished in the Pranas Gudynas Centre for Restoration of LAM. It is supposed that the technique of restoration and exhibiting of such paintings requires individual and unconventional solutions. In case of double-sided paintings it is essential not to use all-over lining inevitably covering only one side of the painting. For local pasting contemporary polymeric glue with organic solvents can be used. It is also recommended to use seals of thin paper isolating layer of polymer from the canvas itself. The main problem of the double-sided paintings is their pulling over subframe or frame. When framing double-sided painting, it is not recommended use grazing, because glass prevents the appropriate circulation of oxygen. Besides, it is hard to decide what kind of glass should be chosen: organic or inorganic. Organic glass is shock resistant, however, it has several negative qualities such as easy scratching, flexibility, UV conduciveness. It is also electrostatic and the view through it is less sharp. Inorganic glass is extremely expressive. Anyways, a double-sided painting framed between glasses if constantly moving, so the surface of the picture is grinding gradually. Therefore glass for framing should be used only in some particular cases or just as an exception – not the rule. Independently of the painting’s framing option there should always be some free space around it in order to create a possibility to walk around and view it from both sides. [From the publication]