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Keywords
restoration, graphics, silhouette, white lead, historically significant inscription, encapsulation, author's intention
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
How to Cite
Mamina, D.M. (2021) ‘Restoration of the silhouette “Emperor Nicholas I and the Cadet Bubnov”: УДК 7.025.4:76’, The Art of Eurasia, (4), pp. 218–225. doi:10.46748/ARTEURAS.2021.04.017.
Индексация статей
Abstract
The article presents a description of the restoration of the silhouette “Emperor Nicholas I and the Cadet Bubnov” which was transferred along with other silhouettes to the Laboratory for Scientific Restoration of Graphics from the Department of the History of Russian Culture of the State Hermitage Museum. The composition of the subject consists of a paper silhouette in a gold frame, pasted on a glossy black background, paper and cardboard backings. This silhouette was handed over for restoration due to damages that tended to develop and were unfavorable both for the state of preservation of the base paper and for the paint layers. The paper studies made it possible to reveal a visually imperceptible layer of lead white on the silhouette surface. During the restoration process, the historically significant inscription “Gift of Meibaum 4. August 28, 1835” was discovered. We can assume that the inscription points to the author of the silhouette, a student Meibaum studied in the First Cadet Corps, or to his relative who donated the silhouette. Restoration procedures have been carried out with each element of the object. The main part of the work has been done on a paper silhouette, which had not only spots, but also tears due to the deformation of the paper support and cardboard. The features of the composition design after restoration are the encapsulation of the silhouette in a polyester film, which prevents the interaction of lead white with air, and the fastening all structural elements along the upper edge. After the restoration the author's idea has been kept: the encapsulated silhouette on a black glossy background, bordered by the golden frame, is attached to a paper backing.
Acknowledgments
The author expresses her gratitude and deep appreciation to O.S. Andreeva and M.A. Meshalkin, curators and researchers of the State Hermitage, for advice and historical information on the subject of restoration work.
References
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