Publikační činnost akademických pracovníků FR / FR Research Outputs
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Konferenční objektpeer-reviewedpublished Omezený přístup Epitaf Jáchyma z Hradce v kostele Nanebevzetí Panny Marie v Jindřichově Hradci ve světle archivního, restaurátorského a materiálového průzkumu(Ústav dějin umění AV ČR, v. v. i., 2022) Míchalová, Zdeňka; Bartůňková, Lucie; Kuneš, PetrPříspěvek představuje archivní, restaurátorský a materiálový průzkum torza renesančního památníku nejvyššího kancléře Českého království Jáchymova z Hradce (1526–1565) v kostele Nanebevzetí Panny Marie v Jindřichově Hradci, který dala v letech 1568–1578 vytvořit manželka zesnulého Anna Hradecká z Rožmberka (1530–1580). Dnešní epitaf je tvořen přízední edikulou se štukovou dekorací a nápisy, ovšem v archivních pramenech a starší vlastivědné literatuře je zaznamenána existence tumby, na níž se měla nacházet klečící postava Jáchyma z Hradce při modlitbě. Figura mohla být provedena buď v reliéfu nebo jako samostatná, plně plastická postava. Na vzniku díla se podílelo několik italských zedníků a štukatérů, přičemž jméno hlavního autora je neznámé, v pramenech je označen pouze jako “Vlach”. Dále je doložena účast kameníka Šimona Kouřimského, který vytesal nedochovaný mramorový náhrobek Jáchyma z Hradce a pasovského sochaře Hanse Maurera, jenž patrně vytvořil tumbu. Tumba byla zničena při požáru kostela v roce 1801 a edikula prošla obnovou. Restaurátorský a materiálový průzkum se soustředil na otázky po původním ztvárnění povrchu dochované části, opravným zásahům provedeným v minulosti a technologickým aspektům díla. Ačkoliv se ani na základě široce pojatého interdisciplinárního průzkumu nepodařilo zmíněné skutečnosti zcela objasnit, přesto náš výzkum vedl k ustavení dvou teorií o původní barevné podobě památky, které by však bylo možno ověřit až v průběhu konzervátorského zásahu, jenž se z pohledu znovunabytí kvalit původní modelace díla jeví jako více než žádoucí.Konferenční objektpeer-reviewedpublished Omezený přístup Kostel Narození sv. Jana Křtitele v Českém Rudolci jako pohřebiště nižší šlechty(Ústav dějin umění AV ČR, v. v. i., 2022) Míchalová, ZdeňkaPozdně gotický kostel Narození sv. Jana Křtitele v Českém Rudolci na jihozápadní Moravě představoval v období 15. a 16. století významné pohřebiště rytířských rodů Drhů z Dolan,vladyků z Maříže, Hodických z Hodic a Hodějovských z Hodějova. V době osmdesátých let 15. století, kdy rudolecké panství spravoval Václav z Maříže, došlo k přestavbě kostela na dvoulodí podle vzoru kostel sv. Jakuba v Telči, přestavěného pány z Hradce. Václav z Maříže dal kostel patrně i vybavit nástěnnými malbami a pořídil malovaný oltář a křtitelnici. V kostele se nachází i jeho náhrobník z roku 1480, který vznikl ještě za Václavova života, a náhrobky dalších členů jeho rodiny. Příklad aktivit Václava z Maříže ukazuje lokální variantu uměleckého mecenátu v jagellonské době. V roce 1582 v kostele vznikl štukový epitaf rodiny rytíře Jana Hodějovského z Hodějova, která sídlila v sousední vsi Markvarec. Umělecky velmi kvalitní, monumentální památník zobrazující Jana Hodějovského s manželkou a dětmi v životní velikosti, je v kontextu našeho renesančního sepulkrálního sochařství ojedinělý užitím polychromovaného štuku. Nejbližší analogii představují štukové figury Zachariáše z Hradce a Kateřiny z Valdštejna na tumbě v pohřební kapli Všech svatých na zámku v Telči. Blízká přátelská vazba je doložena i mezi objednavateli obou sepulkrálních monumentů Janem Hodějovským a Zachariášem z Hradce. Formální podobnosti obou děl jsou natolik těsné, že lze uvažovat o stejném autorovi. Kostel Narození sv. Jana Křtitele v Českém Rudolci, který fungoval pod patronátem místní rytířské šlechty, vypovídá o dosud velmi málo probádaných nárocích na uměleckou reprezentaci nižší aristokracie. Zároveň v sepulkrálních památkách uchovává informace o členech rytířských rodů, k nimž se vztahuje jen minimální množství písemných pramenů.Konferenční objektpeer-reviewedpublished Omezený přístup Re-restoration of the sgraffito facades of the Entrance Tower of the Litomyšl Chateau(Univerzita Pardubice, 2022) Vojtěchovský, Jan; Vojtěchovský, JanThe paper is devoted to the presentation of the sgraffito decoration the Entrance Tower of the Litomyšl Chateau. The sgraffito dates back to the 1730s and is a curious example of this technique at a time when it was already out of fashion. The façade underwent a rich development in different periods of time, which usually did not respect not only the sgraffito itself, but also the formal structure of the façade. Several waves of restoration of the façade subsequently took place in the 20th century, with the most complex being carried out in the late 1970s and early 1980s. This intervention set a completely new perception of the façade, combining the original elements of the façade with a visually very different Baroque reconstruction and completely new additions in the style of the original. The text reflects on the appropriateness of this approach and its defensibility in the context of generally accepted conservation conventions (e.g. the Venice Charter), both then and now. The text also presents the restoration intervention on the sgraffito decoration of the Entrance Tower of the Litomyšl Chateau from 2014-2015, during which findings from the history and development of the facades in question were collected. The paper explains why the concept from the late 1970s and early 1980s was more or less respected during the latest intervention.Konferenční objektpeer-reviewedpublished Omezený přístup Strech-Press Method. An innovative technique of injection and pressing of detached plasters(Univerzita Pardubice, 2022) Wichterlová, Zuzana; Vojtěchovský, JanMany Renaissance sgraffito facades in the Czech Republic were uncovered and rediscovered during the last century. After removal of the secondary layers, the main problem appeared to be the condition of the original plasters, namely their poor adhesion, often connected with bad cohesion of the first coat. In the past, restorers used different approaches to that but over time, most of the steps proved to be unsuccessful or even destroying for the original plaster. Since 1997, we have restored many sgraffito facades. On all of them, we have dealt with similar problems of detached plasters connected with unsuitable or insufficient interventions of previous restorers. We had to search for some new approaches for in-depth consolidation of plasters, filling of gaps with a grouting material and pressing the plaster back to the wall. In the contribution, an innovative technique of pressing of detached plasters during injection (“Stretch-Press Method”) is described.Konferenční objektpeer-reviewedpublished version Omezený přístup An overall examination of the portrait of Maria Theresa from the collection of Jaroměřice nad Rokytnou Chateau(Univerzita Pardubice, 2020) Machačko, Luboš; Háková, JanaThe important collection of baroque portraits, the so called Questenberg collection, at Jaroměřice nad Rokytnou Chateau in the Czech Republic is subject to conservation as well as a complex scientific investigation includ- ing a detailed material analysis. The portrait of Maria Theresa, one of many versions of Martin van Meytens’ portrait of the Holy Roman Empress Ma- ria Theresa, which was proliferated relatively soon after her father’s death, was one of the first paintings to be examined in detail and then restored. The condition of the painting, extent of damage, painting technique and type of materials used were identified by non-invasive (visible light – diffused/sharp oblique/translucent – photography, ultraviolet induced flu- orescence photography, infrared reflectography, X-ray radiography, X-ray fluorescence spectroscopy) and invasive techniques (optical microscopy, scanning electron microscopy, Fourier-transform infrared spectroscopy). Considerable changes to the composition during the execution of the por- trait was one of the most interesting findings as well as the identification of greasy tempera as a part of the painting technique, and identification of cotton fibres in the canvas. All of the above and much more recent infor- mation about the painting examined can be found in the following article.Konferenční objektpeer-reviewedpublished version Omezený přístup Restoration of the Gothic Tomb of Ernest of Pardubice in Klodzko, Poland(Univerzita Pardubice, 2020) Ďoubal, Jakub; Bayer, Karol; Zítková, PetraThe tomb of Arnošt of Pardubice is found in the parish church of the Assumption of the Most Holy Virgin Mary in Kłodzko, Poland. Arnošt of Pardubice († 1364) was the first Archbishop of Prague as well as the leading adviser and diplomat to Charles IV. He spent his childhood in Kłodzko, where he also wished to be buried. His tomb represents an outstanding example of sculptural art of the 14th century. Most authors associate the tomb with the Prague workshop of Petr Parléř. The condition of the monument before restoration was highly unsatisfactory. The tomb was damaged several times in the past by Hussite raids and fires within the church, leaving it in a misaligned state. Damage and unprofessional repairs disrupted its appearance and threatened its material basis. The tomb effigy was broken into several parts and the fragments were scattered around the tomb chest, which resulted in the loss of many valuable parts of the sculpture. The project to restore the tomb began in 2016, when the Faculty of Restoration at the University of Pardubice carried out research and began dismantling and securing fragments of the effigy. In 2017, the project continued with the restoration of the limestone tomb chest. It was discovered that during the tomb’s transfer at the end of the 19th century, it was shortened and incorrectly reassembled. For this reason, the tomb chest was completely dismantled and reassembled in a new representative site and in its original size. After the effigy was placed on the tomb chest, it became possible to find several of the larger fragments which had been separated from the effigy for several centuries or were considered lost. Thanks to this, the whole composition and sculpting of this magnificent Gothic artwork became much more legible. Modern technologies and restoration techniques (such as laser cleaning and the reversible bonding of fragments using a combination of two gluing methods) were used for the restoration and survey. It was crucial to conduct a discussion on conceptual approaches to the restoration, one which confronted contrasting views on the resulting presentation of the work based on different cultural environments and traditions of monument care. From the restoration point of view, this was a very interesting and complicated task dealing with the incomplete character of the surviving sculpture and preserving the authenticity of this remarkable monument.Konferenční objektpeer-reviewedpostprint Omezený přístup New Shading Technique Revealed through Reconstructing the Sgraffito Technology used North of the Alps during the Renaissance(Michael Imhof Verlag, 2017) Wichterlová, Zuzana; Válek, Jan; Skružná, OlgaResearch focusing on the 16th century original Renaissance sgraffito techniques has been in progress since 2012. It aims to specify the techniques utilized by sgraffito makers and to provide an evidence for the process by scientific methods. Primarily, the research concentrates on the area of South Bohemia. Non-invasive visual observation and documentation under the raking light illumination formed the basis of the investigation, complemented with laboratory material analysis. Based on the investigation, some characteristic features of Renaissance sgraffito were identified in the surveyed area and it led to a description of two specific methods of shading – coloured with a brush and smoothened by a trowel, so-called ‘trowel shading’. Both techniques work with middle grey tones and this visually interconnects sgraffito with monochromatic chiaroscuro painting. Detailed analysis carried out on two selected shaded sgraffiti from towns of Telč and Slavonice characterised the used raw materials, mixing ratios, and character and thickness of individual layers. Based on the analysis, local sources of materials were identified and subsequently, material copies were prepared with the aid of knowledge concerning historic lime production and processing technologies. The replicated mortar mixtures were evaluated on trial panels (workability, application methods, various surface finishes, setting and hardening, duration of time breaks between individual layers and/or scratching). The practical trials proved the connection between properties of the used materials (that predefined the use of the artistic technique including the ‘trowel shading’) and the final appearance of sgraffito decorations. Materials and technological copies facilitated a reconstruction of the Renaissance sgraffito technique originally used in the surveyed region and the newly gained knowledge and skills were subsequently used to restore a sgraffito façade in Slavonice.Konferenční objektpeer-reviewedpublished version Omezený přístup Restoration of the Sgraffito Decoration of Litomyšl Chateau – Past and Present(Michael Imhof Verlag, 2017) Vojtěchovský, Jan; Waisser, Pavel; Weyer, Angela; Klein, KerstinSince 2011, systematic research and monitoring is being carried out on the sgraffito decoration of Litomyšl Chateau, a UNESCO world heritage listed building since 1999. The sgraffitio decoration dates back to between 1568 and 1581, and was subsequently repaired several times. The sgraffito decoration of the chateau brewery was created around 1630. Some of the sgraffito was never covered over, however, most of it was. From the early 1900s, there was an increase in the number of sections uncovered and interventions carried out on the sgraffito of the chateau and neighbouring brewery. The present-day appearance of the sgraffito has been significantly influenced after being extensively uncovered and renovated between 1975 and 1987 under the leadership of the Czech sculptor Olbram Zoubek. In recent years, within the framework of professional discourse, it was agreed that this restoration phase should be respected due to the fact that those that had carried it out were significant artists of the second half of the 20th century, and that it was basically an irreversible intervention. Recently, localized stabilizing interventions have been carried out on almost all of the chateau facades. A complex restoration has been undertaken on the facade of the entrance tower to the brewery, and a model restoration was also carried out on the north tower of the chateau in 2014. Moreover, in 2016, a project for adaptations to the chateau was submitted which would involve complex restoration and construction interventions, thus influencing and, irreversibly altering the, hitherto, familiar appearance of the facade. Questions therefore arise, as to whether such interventions are acceptable today and furthermore, if this issue should not be the subject of a broad professional discourse on an international and local scale.Konferenční objektpeer-reviewedpostprint Otevřený přístup Problems of conservation of artworks on large format paper supports(Ljubljana University Press, 2019) Machačko, LubošThe paper deals with specific problems of large format works of art on paper, which represent a great challenge for a conservator. The issue is discussed on general as well as on the example of two case studies. The conservation of large format map of Náměšť nad Oslavou domain on paper applied on canvas support from 1756 is the first one and the conservation of a collection of large format drawings on wrapping paper by Milada Schmidtová from the 2nd half of the 20th century is the other. Both works of art divided by more than 200 years despite different specifications laid the same task before conservators – overall conservation including stabilisation and levelling of paper support, removing of dysfunctional backing, cleaning of paint layer, filling the loses and retouching. The major part of the paper is devoted to the final part of conservation treatment - adjusting the work of art to a new support.Konferenční objektpeer-reviewedpublished Omezený přístup Česká skleněná mozaika(Galerie výtvarného umění Cheb, 2018) Říhová, Vladislava; Kučerová, Irena; Křenková, Zuzana; Zlámalová Cílová, Zuzana; Knězů Knížová, MichaelaPříspěvek se zabývá druhy mozaikového skla používaného v 2. polovině 20. století ve výtvarném umění. Jednotlivé typy mozaikového skla jsou demonstrovány na konkrétních příkladech.