Yağlı boya tuval resimlerinin rötuş uygulamalarında kullanılan malzemeler ve deneysel uygulamalar: Ham ve Yanmış Sienna pigment örneği

Öz

Yağlı boya tuval resimlerinin restorasyonundaki son aşamalarından ve estetik müdahalelerinden biri olarak değerlendirilen rötuş (renksel tamamlama) geçmişten günümüze en tartışmalı onarım müdahalelerinden biri olmuştur. Malzeme, teknik, tekniğin kullanılacağı yöntem, boya, pigment, bağlayıcı çeşidi gibi birçok değişken pek çok araştırmaya konu olmuş; deneysel uygulamalar yapılarak değerlendirmelere gidilmiştir. Günümüzde konuya ilişkin tartışmalar devam etmekle birlikte, her geçen gün kullanıma sürülen yeni malzemeler ile çeşitlilik daha da artmaktadır. Farklı reçinelerle hazırlanan rötuş boyaları, pigment balmumu/reçineleri ve rötuş jelleri denenmekte, alternatifler aranmaktadır. Yaygın kullanılan rötuş boyaları ise hem restoratörler tarafından hazırlanabilmekte hem de hazır olarak piyasada bulunabilmektedir.
Bu çalışma, rötuş uygulamalarında kullanılan yöntemlere değinerek, günümüzde tercih edilen bazı malzemeleri ve aralarındaki fiziksel farklılıkları sunmayı hedeflemektedir. Bu amaçtan yola çıkarak, yağlı boya tuval resimlerinin onarımında rötuşun uygulandığı iki farklı dolgu malzemesi (Bologna Alçısı ve Modostuc) ile Rönesans dönemi ve öncesinde kullanılan toprak pigmentlerden “Ham (Raw) Sienna” ile “Yanmış (Burnt) Sienna” renkleri farklı marka ve boya-bağlayıcı türleri denenerek ton, opaklık ve parlaklık gibi özellikleri değerlendirilmiştir. Rötuş için en ideal boya ve bağlayıcısının bu uygulama için üretilmiş ya da restoratörler tarafından hazırlanmış olan boyalar olduğu sonucuna varılmıştır.

Anahtar Kelimeler

• Tuval resmi
• Rötuş
• Boya
• Ham Sienna
• Yanmış Sienna
• Burnt Sienna

Materials Used in Oil Painted Canvas Paintings and Experimental Practices: Raw and Burnt Sienna Pigment

Abstract

Retouching (color reintegration), which is considered as one of the final process and aesthetic interventions in the restoration of oil paintings, has been one of the most controversial restoration processes from the past to the present. Many variables such as material, technique, method of use, paint, pigment, binder type have been the subject of many studies. Experimental applications and evaluations were made. Today, although the discussions on the subject have been continued, the variety is increasing with the new materials that are put into everyday usage. Retouching paints, pigment wax/resins, and retouching gels prepared with different resins are tried and alternatives are sought. Commonly used retouching paints can be prepared by restorators and are available on the market as ready-made.
This study aims to present some of the materials preferred today and the physical differences between them by mentioning the methods used in retouching practices. Considering this aim, two different filling materials (Bologna Gypsum and Modostuc) to which the retouching is practiced in the restoration of oil paintings, the earth pigments "Raw Sienna" and "Burnt Sienna" which were used in the Renaissance period and before, are different brands and paint-binder types were tested and their properties such as tone, opacity, and brightness were evaluated. It was concluded that the most ideal paint and binder for retouching are paints produced for this practice or prepared by restorators.

Keywords

• Canvas Painting
• Retouching
• Paint
• Raw Sienna

Kaynakça

1. Ackroyd, P. (2010). Retouching media used at the National Gallery, London, since nineteenth century. R. Ellison, P. Smithen & R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 51-60) içinde. Archetype Publications.
2. Bailao, A. & Cardeira, L. (2017, October). Mixing and matching: A survey of retouching materials. 4th International Meeting on Retouching of Cultural Heritage, RECH4 (s. 248-255) içinde. https://www. academia.edu/37522202/MIXING_AND_MATCHING_A_SURVEY_OF_RETOUCHING_MATERIALS
3. Barnett, J. R., Miller S., & Pearce, E. (2006). Colour and art: A brief history of pigments. Optics&Laser Technology, 38, 445-453. https://doi.org/10.1016/j.optlastec.2005.06.005
4. Bestetti, R., & Saccani, I. (2014, October). Materials and methods for the self-production of retouching colours, Laropal A81, Paraloid B72, Gum Arabic and Aquazol based colours. 2nd International Meeting on Retouching of Culture Heritage, RECH2 (s. 26-38) içinde. https://www.academia.edu/20442261/Materials_and_methods_ for_the_self_production_of_retouching_colors_Laropal_A81_Paraloid_B72_Gum_Arabic_and_Aquazol_based_colors
5. Bomford, D., & Roy, A. (2009). A closer look, colour. National Gallery Company Limited.
6. Bucklow, S. (2010). The state of research into retouching resins. R. Ellison, P. Smithen & R. Turnbull (Eds.), Mixing and matching, Approaches to retouching materials (s. 61-65) içinde. Archetype Publications.
7. Cardeira, L., Bailao, A., Linhares, J., & Nascimento, S. (2017, October). Using watercolour markers in chromatic reintegration. 4th International Meeting on Retouching of Cultural Heritage, RECH4 (s. 88-96) içinde. https://www.academia.edu/37522184/USING_WATERCOLOUR_MARKERS_IN_CHROMATIC_REINTEGRATION
8. Crabtree, S., & Beudert, P. (2012). Scenic art for the theatre, history, tools and techniques (3rd Edition). Routledge.

9. Çağlar Eryurt, B. (2020). Modostuc, bologna alçısı, boya, pigment ve bağlayıcılar [Fotoğraf]. Berna Çağlar Eryurt kişisel arşivi.
10. Digney Peer, S., Thomas, K., Perry, R., Townsend, J., & Gritt, S. (2013). The imitative retouching of easel paintings. J. Hill Stoner ve R. Rushfield (Eds.), Conservation of easel paintings (s. 607-634) içinde. Routledge.
11. Dunkerton, J. (2010). Retouching with Gamblin conservation colors. R. Ellison, P. Smithen ve R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 92-100) içinde. Archetype Publications.
12. Eastaugh, N., Walsh, V., Chaplin, T., & Siddall, R. (2004). The pigment compendium: A dictionary and optical microscopy of historical pigments. Elsevier-Butterworth Heinemen.
13. Fernandez Villa, S. G. (2015, October). Filling as retouching: The use of coloured fillers in the retouching of contemporary matte paintings. 3rd International Meeting on Retouching of Cultural Heritage, RECH3 (s. 199-207) içinde. https://eprints.ucm.es/id/eprint/42499/1/Pa%CC%81ginas%20desdeRech3PublicacDef.pdf
14. Fuster Lopez, L., Mecklenburg, M. F., Castell Agusti, M., & Guerola Blay, V. (2008). Filling materials for easel paintings: when the ground reintegration becomes a structural concern. J.H. Townsend, T. Doherty, G. Heydenreich ve J. Ridge (Eds.), Preparation for painting: The artist’s choice and its consequences (s. 180-186) içinde. Archetype Books.
15. Gamblin. (t.y.). Pigmented wax/resin for the conservation of paintings. https://gamblincolors.com/conservation-colors/pigmented-wax-resin/
16. Goldenpaints. (t.y.). High load acrylic colors. https://www.goldenpaints.com/products/custom-products/high-load-acrylic-colors
17. Hirci, G. B., & Ramovs, L. M. (2015, October). Use of retouching colours based on resin binders- from theory into practice. A. Bailão, F. Henriques & A. Bidarra (Eds.), 3rd International Meeting on Retouching of Cultural Heritage, RECH3 (s. 45-52) içinde. Escola Artística e Profissional Árvore. https://www.academia.edu/29462514/USE_OF_RETOUCHING_COLOURS_BASED_ON_RESIN_BINDERS_FROM_THEORY_INTO_PRACTICE
18. Kempski, M. (2010). The art of tempera retouching. R. Ellison, P. Smithen ve R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 36-46) içinde. Archetype Publications.
19. Koneczny, P. (2010a). Properties of pigments and retouching media and their use. R. Ellison, P. Smithen ve R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 66-73) içinde. Archetype Publications.
20. Koneczny, P. (2010b). An introduction to B72 retouching gel. R. Ellison, P. Smithen ve R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 142-147) içinde. Archetype Publications.
21. Laurie, A. P. (1967). The painter’s methods and materials. Dover Publications.
22. Lowry, K. (2010). Retouching with Paraloid B-72. R. Ellison, P. Smithen ve R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 87-91) içinde. Archetype Publications.
23. Manasse A., & Mellini, M. (2006). Iron (hydr)oxide nanocrystals in raw and burnt sienna pigments. European Journal of Mineralogy, 18(6), 845-853. https://doi.org/10.1127/0935-1221/2006/0018-0845
24. Mancinelli, F. (1991). The frescoes of Michelangelo on the vault of the Sistine Chapel: Conservation methodology, problems, and result. S. Cather (Eds.), The conservation of wall paintings (s. 57-66) içinde. The Getty Conservation Institute. https://hosting.iar.unicamp.br/lab/luz/ld/Arquitetural/Museus/Conserva%e7%e3o/ wall_paintings.pdf
25. Massing, A. (2010). The history of egg tempera as a retouching medium. R. Ellison, P. Smithen ve R. Turnbull (Eds.), Mixing and matching, approaches to retouching materials (s. 5-17) içinde. Archetype Publications.
26. McIntyre, C. (2011). Development of a pigmented wax/resin fill formulation for the conservation of paintings. Art Conservatıon Department. https://gamblincolors.com/wp-content/uploads/2016/01/McIntyre_695_To_ Gamblin_2014.pdf
27. Mora, P., Mora L., & Philippot, P. (1984). Conservation of wall paintings. Butterworths.
28. Nicolaus, K. (1999). Restoration of paintings. Könemann.
29. Panda, H. (2016). Modern technology of textile dyes&pigments. NIIR Project Consultancy Services.
30. Pascual, E., & Patino, M. (2003). O restauro de pintura. Editorial Estampa.
31. Pentier, G. (2015). Structuring at the retouching step. 2nd International Meeting on Retouching of Culture Heritage, RECH2 (s. 191-208) içinde. http://e-conservation.org/downloads/finish/2-issues/3-issue2/0
32. Ramovs, L. M., & Hirci, B. G. (2008). Retouching: How and with what? International workshop on retouching oil paintings and wooden polychrome sculpture. Varstvo spomenikov, 44, 222-227. http://www.eheritage.si/vs/ VSC_044C_018_HADVRSRHIGDMMQPDHIPJIFVEPIWFLM.pdf
33. Ruhemann, H. (1968). The cleaning of paintings: Problems and potentialities. Faber&Faber Limited.
34. Santmyers, R. M. (1931). Umber, sienna, and other brown earth pigments. Department of Commerce, United States Bureau of Mines.
35. Seymour, P. (2003). The artist’s handbook: A complete professional guide to materials and techniques. Arcturus Publishing Ltd.
36. Soltan, M. A. A. (2015). An Investigation into the History of the Airbrush and the Impact of the Conservation Treatment of Airbrushed Canvas Paintings (Yayın No. 27304) [Doktora Tezi, Northumbria University]. http://nrl.northumbria.ac.uk/id/eprint/27304/1/soltan.mohamed_phd.pdf
37. Szmit Naud, E. (2003). Research on Materials for Easel Painting Retouches Part 1. The Picture Restorer, 23, 5-10. https://www.academia.edu/33117470/Research_on_Materials_for_Easel_Painting_Retouches_Part_1_ The_Picture_Restorer_n_23_Spring_2003_pp_5_10
38. Vahur, S. (2010). Expanding the possibilities of ATR-FT-IR spectroscopy in determination of ınorganic pigments, ınstitute of chemistry, faculty of science and technology (Yayın No. 1406-0299) [Doktora Tezi, Tartu University]. http://dspace.ut.ee/bitstream/handle/10062/14740/vahur_signe.pdf?isAllowed=y&sequence=1