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Vsebina diplomskega dela temelji na raziskovanju priprave jutastega platna za slikanje, ki je nosilec obravnavane oljne slike Cerkniško jezero akademskega slikarja Lojzeta Perka, naslikane leta 1954. Jutasto platno se v slikarstvu pojavlja kot nosilec za skice, študije, redko kot nosilec razstavnih slik. V impresionizmu sta juto uporabljala tudi slikarja Jakopič in Sternen. V tem obdobju je bilo tovrstno platno cenovno najbolj dostopno. Pozneje je juta uporabljena tudi v sodobni umetnosti, kjer predstavlja odličen material za izvedbo umetnikove namere, s katero lahko dosega različne teksture na površini slike. V diplomskem delu sem s pridobljenimi viri in samostojnimi raziskavami spoznala juto kot material, raziskala plasti Perkove slike, predstavila postopke priprave platna za slikanje in morebitna odstopanja pri gradnji slikovnih plasti na jutastem nosilcu. Z izdelavo vzorcev sem pridobila dovolj informacij za izvedbo konservatorsko-restavratorskih postopkov, ki so bili predvideni v konservatorskem načrtu. Velik poudarek je na konservatorskem postopku utrjevanja slikovnih plasti. The content of this diploma thesis is based on the research on the preparation of jute canvas for painting, which is the type of canvas used in the examined oil painting, Cerkniško jezero, made by academy-trained painter Lojze Perko in 1954. In painting, jute canvas is usually the medium for sketches and studies, but is only rarely used for display paintings. Impressionist painters Jakopič and Sternen also used jute for their works in their day, jute canvas was the most affordable. Later, jute also appears in modern art as it represents an excellent material for executing the artist’s vision, with which he or she can achieve different textures on the painting’s surface. The obtained sources and personal research for the diploma thesis enabled me to familiarise myself with jute as a material, studied the layers of Perko’s painting and present the processes and possible deviations in building painting layers on a jute support. By producing samples, I gained enough information to execute conservation-restoration procedures, which were anticipated in the conservation plan. A big emphasis is on the conservation procedure of reinforcing painting layers on the painting. |
