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An small sample of my work in the field of conservation and restoration of cultural heritage.
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LEYRE QUEVEDO BAYONA CONSERVATION AND RESTORATION
MY PORTFOLIO
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MY PORTFOLIO
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CONTENTS
ABOUT ME
PERSONAL INFORMATION AND CONTACT
MY WORK
PROCEDURES: ETCHING
POLYCHROMED WOOD
OIL ON CANVAS
RESTORATION: PICTURE
MISSAL
ETCHING
ESCULPTURE
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ABOUT ME
My name is Leyre Quevedo, and
I am a 20-years-old student of the
Superior Artistic Educations of
Conservation and Restauration
of Cultural Heritage, in the Art
School “Mariano Timón” of
Palencia, Spain.
I love Art in all its forms, but I
especially like everything related
to historic textiles and clothing.
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PERSONAL INFORMATION AND CONTACT
C/ Tizona 2, 09320.
Cogollos, (Burgos)
Spain.
(+34) 664 471 273
leyrequevedo
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2012 – Present
Superior Artistic Educations of
Conservation and Restauration of
Cultural Heritage (specialty of Textiles) SCHOOL OF ARTS “MARIANO TIMÓN”, PALENCIA
2014
Practical Workshop of Restoration and
Cataloging Ethnographic Heritage MONASTERIO DE LA SANTA ESPINA
2010- 2012
High School Degree in Arts SCHOOL OF ARTS AND SUPERIOR OF DESIGN of
BURGOS
MY WORK
As a student of Conservation and Restoration I have done
some projects to approach the different materials which can
be part of art works.
These works has been done throughout the past two years,
mainly in two subjects:
• Technical and Methodological Principles of
Restoration
• Material’s procedures
Both of them are about Organic and inorganic materials.
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MY WORK
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PROCEDURES
1. OIL ON CANVAS
2. POLYCHROMED WOOD
3. ETCHING
RESTORATION
1. PICTURE
2. MISSAL
3. ETCHING
4. SCULPTURE
PROCEDURES: OIL ON CANVAS
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Starting with a
frame and a piece
of canvas, I pieced
it together to have
a support ready to
be painted.
I mixed the powder
pigments with
linseed oil and
begun to paint
PROCEDURES: POLYCHROMED WOOD
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Starting with a piece of wood, I carved it and after obtaining
the desired shape I applied different materials in order to get
the piece ready to be gilded. I let the layers visible so I can
figure out all the process. After that, I applied tempera paint
and did a sgraffito.
PROCEDURES: ETCHING
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Different phases of the etching:
carving in the varnish that
protects the metal from the
acid, and the matrix inked.
The print of the matrix in paper
with water-based black ink.
RESTORATION: CANVAS
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INTERVENTION:
• Cleaning
• Color consolidation
• Mechanical consolidation of
the canvas’s edges
• Recovery of the gaps in the
canvas
• Assembly canvas in his
original frame
• Application of stucco
• Chromatic reintegration
• Protection
TECHNICAL DETAILS:
• Material: ACRILIC ON CANVAS
• Date: 21th CENTURY
• Autor: L. Quevedo
• Dimensions: 47,5cm x 31,1cm
RESTORATION: MISSAL
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TECHNICAL DETAILS:
• Material: INK ON PAPER
• Date: 18th CENTURY
• Dimensions: 32,5 x 27,3cm
INTERVENTION:
• Cleaning
• Rehydration
• Chemical consolidation
• Mechanical consolidation
• Chemical whitening
• Reintegration of the gaps
• Chromatic reintegration
RESTORATION: ETCHING PRINT
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TECHNICAL DETAILS:
• Material: INK ON PAPER
• Technic: ETCHING PRINT
• Date: 18th CENTURY
• Dimensions: 35,4 x 26 cm
INTERVENTION:
• Cleaning
• Rehydration
• Chemical consolidation
• Mechanical consolidation
• Chemical whitening
• Reintegration of the gaps
• Chromatic reintegration
RESTORATION: SCULPTURE
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TECHNICAL DETAILS:
• Material: POLYCHROMED WOOD
• Date: 18th CENTURY
• Dimensions: 115 x 57 x 33 cm
INTERVENTION:
• Cleaning
• Chemical consolidation
• Mechanical consolidation
• Chromatic reintegration
• Protection
Under the current polychromies we found the original one, a gilded. We were unable to restore it due to the advanced degradation thereof.
EXPERIENCE WITH TEXTILES
Along the current academic course I
have been learning about specific
techniques of textile restoration, from
documentation to consolidation and
creation of expositive and storage
supports.
These are some of my projects:
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RESTORATION OF A TEXTIL PIECE
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A detail of the piece, before and after the
intervention. In the right one the gap has
been consolidated due to the tensions it
makes in the piece, and the reticular structure
has been given back to their original state.
A piece of textile from late
19th century.
The intervention consisted in a mechanic cleaning,
by microaspiration, a
wash, and then a
correction of the
imperfections, because
the piece was very
deformed, and the
reticular structure was
completely irregular due to
that deformation.
As a part of the preventive
curation, an storage
support was made.
19th CENTURY CARPET
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Carpet from the Palencia’s Cathedral,
dated around 19th century. It has a big gap
in the inferior part.
The studies shows that the warp was made
of flax and the weft and the knots were
made of wool.
The intervention consists in recover the
blank gaps, doing knots as the original
ones, and passing the missing weft.
Also a mechanical cleaning was made
between each process.
18th CENTURY COPE
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Cope from the 18th century.
Material: Silk, flax and metallic
string.
Technique: Damask, brocade,
and moiré.
The main damage was the
deformation, so the
intervention‘s goal was to
recover the original shape,
removing the deformations,
wrinkles and folds.
The golden part presents gaps
of wart, so a consolidation
was necessary in order to
stabilize the textile and
prevent it from more
damages.
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