Müze Koleksiyonlarındaki Tuval Resimlerinin Koruma Durumlarına İlişkin Belgeleme Çalışmalarının Önemi

Year 2019, Issue: 22, 9 - 18, 22.07.2019

Berna Çağlar Eryurt

https://doi.org/10.17484/yedi.520903

Abstract

Günümüzde Resim-Heykel ve Sanat müzeleri koleksiyonlarının büyük bir kısmını oluşturan tuval resimlerinin envanter çalışmaları dışındaki bilgilerin yetersiz olduğu görülmektedir. Mevcut koruma durumlarının, onarım çalışmalarının belgelenmesi ve belirlenen sürelerde bilgilerin güncellenmesi oldukça önemlidir. 

Koruma durum raporları, eseri oluşturan malzemelerin teknik özellikleriyle birlikte daha önce onarım geçirenlerin ayrıntılı olarak belgelenmesini kapsamalıdır. Ayrıca eserin mevcut depolama ve sergileme koşulları kaydedilmeli, uygun olmayan koşullara öneriler getirilmelidir.

Bu belgeleme çalışmalarının müze ve eserlerin ihtiyacına yönelik olarak uygun hale getirilmiş bir veri tabanında kaydedilmesi de büyük önem taşımaktadır. Aksi halde her koruma uzmanın belirleyeceği ölçütlere göre yapılacak raporlama, eserlerin problemlerinin net bir şekilde anlaşılmasını zorlaştıracak, koruma raporlarının amacını ve önemini kaybetmesine neden olacaktır.

Keywords

Tuval resmi, Belgeleme, Koruma durumu

The Importance of Documentation Studies on the Conservation Condition of Canvas Paintings in Museum Collections

Abstract

Today it is seen that the information about the collections constituting the Painting-Sculpture and Art Museums is insufficient except the inventory works of canvas paintings. Documenting the existing conservation conditions and restoration works and updating these in determined time periods are rather important.

Conservation condition reports must cover the technical features of the materials forming the artwork as well as the detailed documentation of the previously restored ones. Additionally, the existing storage and exhibition conditions must be recorded and suggestions must be offered for inappropriate conditions.

It has also utmost importance that these documentation works are saved in a database which is made suitable for the needs of museums and the artworks. Otherwise, reporting which will be made on the basis of of each conservation specialist’s criteria will make it difficult to understand the problem of the artwork clearly and result in the loss of the aim and the importance of the conservation reports.

Keywords

Canvas painting, Documentation, Conservation condition

References

• Canadian Conservation Institute, (1993). Condition Reporting -Paintings. Part I: Introduction. CCI-ICC Notes, 10(6), 1-7. Ottawa, Ontario: Canadian Conservation Institute.
• Canadian Conservation Institute, (1993). Condition Reporting-Paintings. Part II: Examination Techniques and a Checklist. CCI-ICC Notes, 10(7), 1-4. Ottawa, Ontario: Canadian Conservation Institute.
• Carpinone, E. C. (2010). Museum Collections Management Systems: One Size Does Not Fit All. (Unpublished Master’s Thesis), Seton Hall University: United States.
• Gilberg, M. (1987). “Friedrich Rathgen: The Father of Modern of Modern Archaeological Conservation”, JAIC, 26(2), 105-120.
• Keene, S. (2002). Managing Conservation Museums: Second Edition. Butterworth Heinemann.
• Moore, M. (2001). “Conservation Documentation and the Implications of Digitisation” Journal of Conservation and Museum Studies, 7, 6-10.
• Nicolaus, K. (1999). Restoration of Paintings. Konemann.
• Oddy, A. (2011). “Harold Plenderleith and the Conservation of Antiquities and Works of Art”, Intervención (Méx. DF), vol.2 no.4, 56-62.
• O’Neill, K. C. (2008). Conservation in Museums: William Aiken Walker’s Marine Life Paintings. (Unpublished Master’s Thesis), University of Florida: The United States.
• Radin, M. (2011). “Management of Conservation Documentation”. Knowledge Management and Museums, The 23rd Annual Conference of CIDOC, SIBIU 2011, 4-9 September 2011, Sibiu, Romania.
• Rathgen, F. (1905). The Preservation of Antiquities: A Handbook For Curators, Cambridge University Press.
• Roy, A., Foister, S., Rudenstine, A. (2007). “Conservation Documentation in Digital Form - A Continuing Dialogue About the Issues”, Studies in Conservation, 52:4, 315-317.
• Rudenstine A. Z., Whalen, T. P. (2006). “Conservation Documentation in Digital Form: A Dialogue about the Issues”, The Getty Conservation Institute Newsletter, 21(2), 26-28.
• Ruhemann, H. (1934). A Record of Restoration. Technical Studies in the Field of the Fine Arts, III(I), 3-15.
• Stoner, J. H., Rushfield, R. (2012). Conservation of Easel Paintings. Routledge.
• Stout, G. (1935).”A Museum Record of the Condition of Paintings”. Technical Studies in the Field of the Fine Arts, Vol.III, 206-207.
• Velios, A. (2016). “Online Event-based Conservation Documentation: A Case Study from the IIC Website” Studies in Conservation, 61(1), 13-25.
• Von Loon, A. (2013). “Reexamination and documentation of existing paint cross-sections for The Rembrandt Database”. Updates in Paintings Conservation&Documentation: New Developments in Databases, Documentation and the Technical Imaging of Paintings. Proceedings of the ICOM-CC Documentation&Paintings Working Groups Joint Interim Meeting, 21st September 2013 at the RKD, The Hague.
• https://rkd.nl/en/explore/images/record?filters[project][0]=The+Rembrandt+Database&filters[objectcategorie][0]=painting&filters[drager][0]=panel+%28oak%29&query=&start=134
• https://rkd.nl/en/explore/images/record?filters[project][0]=The+Rembrandt+Database&filters[objectcategorie][0]=painting&filters[drager][0]=panel+%28oak%29&query=&start=134
• http://lucascranach.org/DE_GNMN_Gm614
• https://cima.ng-london.org.uk/documentation/index.php