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Metodika uchovávání předmětů kulturní povahy
Selucká, Alena ; Mrázek, Martin ; Štěpánek, Ivo ; Mazík, Michal ; Grossmannová, Hana ; Jirásek, Pavel ; Holman, Pavel ; Jakubec, Petr ; Fricová, Jana ; Vácha, Zdeněk ; Červenák, Jan ; Dvořák, Martin ; Němec, Václav ; Dušková, Markéta ; Fogaš, Igor ; Bačovský, Jiří
Metodika poskytuje doporučení pro správnou praxi dlouhodobého uchovávání předmětů kulturní povahy v paměťových institucích. Předkládá logickou osnovu zohledňující důležité aspekty související s budovami, jejich vnitřním prostředím, bezpečnostními kritérii a možnými riziky, spojenými se způsoby užívání předmětů kulturního dědictví. Metodika si klade za cíl též ozřejmit možnosti vyhodnocování vhodnosti stavebních objektů pro dlouhodobé ukládání předmětů kulturní povahy i ze strany jejich majitelů či provozovatelů tak, aby bylo možné predikovat jejich vliv na uložené fondy a udržitelnost provozu.
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Metodika uchovávání předmětů kulturní povahy
Selucká, Alena ; Mrázek, Martin ; Štěpánek, Ivo ; Mazík, Michal ; Grossmannová, Hana ; Jirásek, Pavel ; Holman, Pavel ; Jakubec, Petr ; Fricová, Jana ; Vácha, Zdeněk ; Červenák, Jan ; Dvořák, Martin ; Němec, Václav ; Dušková, Markéta ; Fogaš, Igor ; Bačovský, Jiří
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Investigation of Madonna in the travel altar of Robert of Anjou from the collection of moravian gallery in Brno
Fogaš, I. ; Wörgötter, Z. ; Hradilová, J. ; Hradil, David ; Zikmund, T. ; Kaiser, J.
An exceptional Gothic work of art, a travel altar of Robert of Anjou, is one of those donated by John II of Liechtenstein to the Franz Museum in Brno in 1896. Light has been newly shed on the circumstances of Prince's acquisition of the altar; it refuted the thoughts about the altar's Central European provenance, because as it is being documented, the purchase took place directly in Florence in 1890. It has been recorded already back then that the Tabernacle is complemented by a (damaged) statuette of Black Madonna made of Carrara marble. The description of its damage, secondary additions and polychromy construction was the main aim of the artwork's survey by non-invasive methods (mobile XRF, computed tomography); on the basis of their results, a careful micro-sampling has been performed followed by material analysis. Most importantly, it was found out that the material of the statue is not Carrara marble, but an alabaster, which is not in disagreement with the assumed provenance (northern Italy), but due to its weight and fragility, the statuette could only hardly be an original part of the altar. Concurrently, the analysis of the oldest layers of polychromy proved that the Madonna has not been originally black and that this adjustment has been executed secondarily and intentionally.
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Investigation of Madonna in the travel altar of Robert of Anjou from the collection of moravian gallery in Brno
Fogaš, I. ; Wörgötter, Z. ; Hradilová, J. ; Hradil, David ; Zikmund, T. ; Kaiser, J.
An exceptional Gothic work of art, a travel altar of Robert of Anjou, is one of those donated by John II of Liechtenstein to the Franz Museum in Brno in 1896. Light has been newly shed on the circumstances of Prince's acquisition of the altar; it refuted the thoughts about the altar's Central European provenance, because as it is being documented, the purchase took place directly in Florence in 1890. It has been recorded already back then that the Tabernacle is complemented by a (damaged) statuette of Black Madonna made of Carrara marble. The description of its damage, secondary additions and polychromy construction was the main aim of the artwork's survey by non-invasive methods (mobile XRF, computed tomography); on the basis of their results, a careful micro-sampling has been performed followed by material analysis. Most importantly, it was found out that the material of the statue is not Carrara marble, but an alabaster, which is not in disagreement with the assumed provenance (northern Italy), but due to its weight and fragility, the statuette could only hardly be an original part of the altar. Concurrently, the analysis of the oldest layers of polychromy proved that the Madonna has not been originally black and that this adjustment has been executed secondarily and intentionally.
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Newly Found romanesque madonna of Sedes sapientiae type coming from a czech private collection with elements of west european fine arts tradition
Hradilová, J. ; Hradil, David ; Fogaš, I. ; Zmydlená, M.
On the basis of material research, the oldest preserved polychrome carving of Madonna of Sedes sapientiae type was dated using radiocarbon method 14C to the interval of 990 – 1180. During the non-destructive research, we could observe its inner structure on the CT scans and a careful sampling enabled us to determine the technological features typical for this outstanding polychromy. These features comprise, above all, the oldest siliceous ground of specific composition, which had a practical relevance. The coloured, or only coarse-grained lower ground layer, served as a check for the depth of polish of the upper white ground – the treatment, which should result in the same thickness of the ground on all places of the uneven surface. The origin of Madonna of Sedes sapientiae type can be assigned to workshops drawing on Western-European traditions.
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Newly Found romanesque madonna of Sedes sapientiae type coming from a czech private collection witn elements of west european fine arts tradition
Hradilová, J. ; Hradil, David ; Fogaš, I. ; Zmydlená, M.
On the basis of material research, the oldest preserved polychrome carving of Madonna of Sedes sapientiae type was dated using radiocarbon method 14C to the interval of 990 – 1180. During the non-destructive research, we could observe its inner structure on the CT scans and a careful sampling enabled us to determine the technological features typical for this outstanding polychromy. These features comprise, above all, the oldest siliceous ground of specific composition, which had a practical relevance. The coloured, or only coarse-grained lower ground layer, served as a check for the depth of polish of the upper white ground – the treatment, which should result in the same thickness of the ground on all places of the uneven surface. The origin of Madonna of Sedes sapientiae type can be assigned to workshops drawing on Western-European traditions.
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Study of late 18-19th century paintings of "Vienese school" by non-invasive analytical methods
Hradil, David ; Fogaš, I. ; Miliani, C. ; Daffara, C.
Paintings of two authors of the Vienna school, Johann Baptist Lampi elder and Johann Baptist Lampi younger, have been analysed by combination of non-invasive and microanalytical methods. The most important dissimilarities in pallets of pigments were indicated by mobile XRF. Simultaneous presence of Sb and Sn indicated the use of unusual lead-tin-antimony yellow. This unusual pigment, structure of which was subsequently described by X-ray microdiffraction, was finally the only feature distinguishing the paintings. We concluded that it could be a sign of author’s preference.
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Naples yellow containing Sn in 18th - 19th century: Technological peculiarity or a forgotten pigment ?
Grygar, Tomáš ; Hradil, David ; Hradilová, Janka ; Bezdička, Petr ; Fogaš, I. ; Machovič, V.
Several Pb-containing yellow pigments were used in traditional European painting. Recipes for their production were probably adapted by those for yellow glass and enamel, having been known from antiquity. The popularity of one of them, Naples yellow, PB2Sb2O7, is strictly limited to the period from 17th to 19th century and its actual composition chanced within this period.
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