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Manuel Maria Police
No full textTema ovog diplomskog rada je život i djelo skladatelja Manuela Maria Poncea. Biografija je sastavljena kronološki, po gradovima i državama a prati razdoblje od ranog djetinjstva do skladateljeve smrti. Na kraju rada se nalazi popis djela za gitaru sastavljen abecednim redom
An Overview of Croatian Medieval Art and Lifestyle in the Context of Museum Pedagogy through a Cooperation of the Education System and Museums
No full textOvim radom se ukazuje na potrebnu suradnje unutar obrazovnog sustava i muzejskog prostora kao ključnih čimbenika koji sudjeluju u oblikovanje koherentnog stava određene osobe. U prilog navedenoj suradnji škole i muzeja ide i novi Kurikulum za nastavni predmet Likovne kulture za osnovne škole i Likovne umjetnosti za gimnazije u Republici Hrvatskoj koji predviđa da učenik istražuje posljedice različitih prirodnih i društvenih čimbenika na djela kulturne baštine i tradicijskog oblikovanja te odnos ljudi prema očuvanju baštine. Produkt ovog rada su izrađeni gotovi modeli edukativne knjižice „Život prvih Hrvata“ koja se temelje na prostornim i društvenim okolnostima, svakodnevnom životu i umjetnosti ranog srednjeg vijeka na području Hrvatske, te interaktivne mobilne aplikacije koja prati građu Muzeja hrvatskih arheoloških spomenika u Splitu.This thesis aims to identify and clarify the importance of close cooperation of education system and museums as key factors contributing to the development of one’s set of beliefs. To support this claim the thesis outlines the components of the Curriculum of Art Culture for primary schools and the Curriculum of Art for grammar schools in the Republic of Croatia. These state the student should research how specific natural and social factors have affected cultural heritage, traditional forms and the attitude of individuals towards its preservation. The final product of this thesis are completed models of educational booklet “The Life of First Croatians” based on spatial and social circumstances, everyday life and the early medieval arts in Croatia, as well as an interactive mobile application which follows the materials of the Museum of Croatian Archaeological Monuments in Split closely
Gothic portals of residential architecture in Split
No full textU radu se obrađuju gotički portali stambene arhitekture na području grada Splita. Istraživanjem su obuhvaćeni samo glavni ulični portali, ukupno njih 23. Do sada nije postojalo istraživanje u čiji su opseg ušli svi portali. Nastanak portala smješta se u povijesni okvir. Nakon provedene katalogizacije, obavljena je morfološka analiza. Gotički portali nastaju tijekom 14. i 15. stoljeća, kada se Split razvija u starom i novom dijelu, tj. unutar Dioklecijanove palače i u novome gradu koji se širi zapadno od nje. Palače s gotičkim portalima mogu biti romaničko-gotičkoga, zrelogotičkoga ili kasnogotičkoga sloga. Prekretnicu u njihovoj gradnji donio je početak venecijanske vladavine 1420. te angažman Jurja Dalmatinca i njegova kruga. Do venecijanske vladavine gotički portali su jednostavni, s minimalnom skulpturalnom dekoracijom, svedenom na kapitele pilastre portala i bastonate (kapiteli i baze bastonata), dok se u luneti postavljaju grbovi na neutralnom fondu lunete. Juraj Dalmatinac i njegov krug izrađuju portale po ugledu na venecijanske. Uvodi se poseban oblik kapitela, s motivom lišća povijenog vjetrom; bastonate se mogu multiplicirati te se ukrašavaju motivima vitica, užeta ili lovorovih listova. Čitav se portal može uokviriti i motivom raboša, a u luneti grb postaje dijelom bogate dekoracije.The subject of this work is Gothic portals of residential architecture in the area of the city of Split. The survey covers only the main street portals - 23 of them. So far, there has been no survey whose scope includes all portals. The origin of the portals is placed in a historical framework. After cataloging, morphological analysis was performed. Gothic portals were created during the 14th and 15th centuries, when Split was developing both its old and new part, ie. within Diocletian's Palace and the new city that spreads west of it. Palaces with Gothic portals can be Romanesque-Gothic, high Gothic or late Gothic. The turning point was the arrival of the Venetian rule in 1420 and the engagement of Juraj Dalmatinac and his circle. Before Venetian rule, Gothic portals were simple, with minimal sculptural decoration reduced to capitals-pilasters of portals and bastonates (capitals and bases of bastonates), while coats of arms were placed in the lunette on the neutral fund of the lunette. Juraj Dalmatinac and his circle introduce portals inspired by Venetian ones. A special form of capital with a leaf motif bent by the wind is introduced, bastonates can be multiplied and decorated with motifs of tendrils, ropes or bay leaves. The entire portal can be framed with a raboš motif and in the lunette, the coat of arms becomes part of the rich decoration
Restoration of oil painting on canvas 'Our Lady of the Seven Sorrows' with decorative frame
No full textUljena slika na platnu ‘’Gospa od sedam žalosti’’s pripadajućim ukrasnim okvirom dio je inventara župe Sv. Nikole u Komiži. Slika je u prethodnoj intervenciji lakirana, a lak je izrazito potamnio što je umanjilo čitljivost prikaza. U prošlom zahvatu je podstavljena novim platnom i zalijepljena za podokvir. Konzervatorsko – restauratorski zahvat primarno je bio usmjeren na odvajanje slike od podstavljenog platna, te primjereno podstavljanje korištenjem firentinske paste, što je omogućilo napinjanje na novi podokvir. Uklanjanjem površinske nečistoće i potamnjelog laka omogućena je vidljivost prikaza, te rekonstrukcija oštećenja. Pozlaćeni i polikromirani rezbareni drveni ukrasni okvir zatečen je u prilično stabilnom stanju. Kao i slika, bio je preslikan slojem potamnjelog laka, te purpurine koja je oksidirala. Zatečena su manja mehanička oštećenja i gubitci. Konzervatorsko-restauratorski zahvat na ukrasnom okviru obuhvatio je stabilizaciju slikanog sloja i drvenog nositelja, uklanjanje prethodnih intervencija, te rekonstrukciju nosioca, preparacije, polikromije i pozlate.The framed oil painting on canvas''Our Lady of Sorrows'' is in the possession of the church of St. Nicholas in the town of Komiža on the island of Vis. A varnish layer was applied to the face of the painting during previous intervention. The varnish layer has dramatically darkened which has dimished the visibility of the original paint layer. Painting was also lined during the previos intervention and glued to the wooden strainer. The conservation treatment has been primarily focused on separating the painting from the lining. The painting was relined applying the Florentine paste method, and fixed to a new stretcher. Removal of the surface dirt and darkened varnish made the paint layer visible again and enabled the reconstructions of the paint layer damages and losses. The found condition of the craved gilded and polychromed decorative frame was relatively stable. It was overpainted with the artificial golden colour that oxidised with time and varnished the same way as the painting. Minor damages and losses were found. The conservation treatment consisted of the stabilization of the wooden support, paint layer and gilding, the removal of the previous interventions and the reconstruction of the wooden support, polychromy and gilding
Vasko Lipovac - a group of reliefs from Cavtat: conservation-restoration of the selected elements and reconstruction of the original display based on preserved elements and photo documentation
No full textU ovom diplomskom radu objašnjeno je kako je proveden konzervatorsko-restauratorski postupak na odabranim elementima grupe reljefa Vaska Lipovca iz hotela Epidaurus u Cavtatu koji su pripadali cjelini od najvjerojatnije 17 elemenata. Riječ je o djelima Dama i Mornar. Istraživanje je započeto sakupljanjem podataka o povijesti skulptura da bi se usredotočilo na utvrđivanje sastava materijala, odnosno vrste drva nosioca i industrijskih boja kojima je Lipovac oslikao reljefe te određivanje odgovarajuće metode i materijala koji će se primijeniti u konzervatorsko-restauratorskom zahvatu. Odabir restauratorskih materijala temeljen je na zelenoj kemiji i osobinama suvremenih djela koje je Lipovac izveo u drvu i oslikao tzv. „neumjetničkim“ bojama. Najboljim sredstvom za čišćenje površinskih nečistoća na odabranim reljefima pokazali su se gelovi na bazi prirodne gume i vode. Ksantan gel pH 7 korišten je za čišćenje površinske nečistoće na najosjetljivijim, plavim zonama Mornara, a isti gel u otopini limunske kiseline u destiliranoj vodi pH 6 korišten je na drugim zonama bojanog sloja kod Mornara te na cijeloj površini Dame. Mrlje koje nisu dio izvornog oslika vidljive na Dami uklonjene su mehanički. Drveni nosilac obje skulpture, degradiran pod utjecajem vlage i crvotočine, konsolidiran je otopinom Paraloida B-72 u etilnom alkoholu i acetonu (1:1) postupnim povećavanjem postotka konsolidanta u otapalu (12 - 20%). Bojani sloj, mjestimično uzdignut i odvojen od podložnih slojeva, podlijepljen je Lascauxovim Medium for consolidation. Ova akrilna disperzija nije izazvala deformaciju bojanog sloja i nije utjecala na ton boje. Za popunjavanje većih oštećenja u drvu korišten je kit sastavljen od 20% Paraloida B72 u etilnom alkoholu s mikrobalonima i s bolonjskom kredom, a za manja oštećenja, kao što su rupe crvotočine, korišten je Mowiol kit. Za rekonstrukciju nedostajućih dijelova drvenog nosioca odabran je kit 25% Paraloida B-72 s mikrobalonima u acetonu. Zadnji sloj rekonstrukcije donjeg dijela Mornara i Dame izveden je toniranim kitom 25% Paraloida B-72 u acetonu s mikrobalonima i bolonjskom kredom (1:1). Sloj osnove rekonstruiran je podlogom izrađenom od 10 % otopine Mowiola u destiliranoj vodi, ugušćene bolonjskom kredom u težinskom omjeru (1:2). Retuš je izveden pigmentima vezanim 25% otopinom Aquazola 500 u vodi. Donji rekonstruirani dio drvenog nosioca Mornara retuširan je kako bi se površina uskladila s izvornim izgledom drvenog nosioca. Retuš tog dijela izveden je akvarelnim bojama, tehnikom tratteggio. Za lakiranje je korištena 25%, a zatim 10% otopina Regalreza 1094 u Shellsolu D40 s dodatkom dimastog kremena (silica) radi regulacije sjajnosti laka. II Izgled cjeline Lipovčeve „grupe reljefa iz Cavtata“ rekonstruiran je pomoću računalnog CAD programa (SketchUp 8) na temelju sačuvanih elemenata i fotodokumentacije.In this master thesis conservation-restoration treatment was carried out on the selected elements of a group of reliefs by Vasko Lipovac, from Hotel Epidurus in Cavtat , which most likely belonged to a whole of the 17 elements . The artworks are the Lady and the Sailor. The research began with collecting the data about the history of sculptures in order to focus on determining the composition of materials, ie the type of supporting wood, and industrial paints with which Lipovac painted reliefs, and determining the appropriate method and materials which will be used in conservation-restoration procedure. The selection of conservation materials was based on green chemistry and features of contemporary works which Lipovac performed in wood and painted with so called "non-artistic" colors . Gels based on natural rubber and water proved to be the best medium for cleaning surface impurities on the selected artworks. Ksantan gel pH 7 was used to clean surface impurities in the most sensitive, blue areas of the Sailor, and the same gel in a solution of citric acid in distilled water pH 6 was used on other zones of the colored layer of the Sailor and on the entire surface of the Lady. Stains that are not part of the original paint layer visible on the Lady were removed mechanically . Wooden support of both sculptures, degraded under the influence of moisture and wormholes, wasconsolidated with the solution of Paraloid B-72 in ethyl alcohol and acetone (1:1), gradually increasing the percentage of consolidant in the solvent (12 - 20%) . The painted layer, raised in places and separated from the underlying layers, was glued with the LascauxMedium for consolidation. This acrylic dispersion did not cause deformation of the painted layer and did not affect the color tone. A 20% Paraloid B-72 putty in ethyl alcohol with chalk and microballoons (1:1) was used to fill in the major damage in the wood, and a Mowiol putty was used for minor damage, such as wormhole holes. A 25% Paraloid B-72 putty with microballoons in acetone was selected for the reconstruction of missing parts of the wooden carrier. The last layer of the reconstruction of the lower part of the Sailor and the Lady was performed with tinted 25% Paraloid B-72putty with microballoons and Bologna chalk in acetone. The ground layer was reconstructed with a 10% solution of Mowiol in distilled water, thickened with Bologna chalk in a weight ratio (1:2). Retouching was performed with pigments bound with a 25% solution of Aquazol 500 in water. The lower reconstructed part of the wooden carrier of the Sailor has been retouched, to visually III integrate the putty color with the surrounding wood texture. The retouching of this part was done with watercolors, using the tratteggio technique. A 25% solution, followed by a 10% solution of Regalrez 1094 in Shellsol D40, with the addition of the fumed silica powder, was used for varnishing. Fumed silica was added to regulate the gloss of the varnish. The appearance of the whole of the Lipovac's "relief group from Cavtat" was reconstructed using a computer CAD programme (SketchUp 8) based on preserved elements and photo-documentations
