This research will focus on three small-scale mock-up reconstructions of several embellishment motifs used by renaissance painter Nikola Bozidarevic from Dubrovnik (Croatia). The reconstructions were carried out as a part of the practical portion of the Technical analyses and historical reconstructions course at the Arts Academy of the University of Split during the academic year 2020/2021. During the reconstruction process a number of questions concerning the painter’s working properties aroused. The attempt was made to answer which methods of transferring the pattern on the gilded surface could have been used. Further questions concerned the subsequent steps of decoration, for example did the pouncing of the surface occurred before or after delineation of the motifs in thick paint. In spite the fact that most of these questions remind ambiguous, the experience gained from the reconstruction process emphasized the importance of understanding the practical aspects of decorative techniques as well as the high level of knowledge about the painter’s materials required for this kind of process.
{"title":"MOCK-UP RECONSTRUCTIONS OF GOLDEN TEXTILES DEPICTED IN THREE RENAISSANCE PAINTINGS FROM CROATIA: THE PURSUIT OF EMBELLISHMENT TECHNIQUES","authors":"Paola Matković, Lucija Duplančić, Klaudia Hozjan, Sandra Šustić Cvetković","doi":"10.4995/rech6.2021.13603","DOIUrl":"https://doi.org/10.4995/rech6.2021.13603","url":null,"abstract":"This research will focus on three small-scale mock-up reconstructions of several embellishment motifs used by renaissance painter Nikola Bozidarevic from Dubrovnik (Croatia). The reconstructions were carried out as a part of the practical portion of the Technical analyses and historical reconstructions course at the Arts Academy of the University of Split during the academic year 2020/2021. During the reconstruction process a number of questions concerning the painter’s working properties aroused. The attempt was made to answer which methods of transferring the pattern on the gilded surface could have been used. Further questions concerned the subsequent steps of decoration, for example did the pouncing of the surface occurred before or after delineation of the motifs in thick paint. In spite the fact that most of these questions remind ambiguous, the experience gained from the reconstruction process emphasized the importance of understanding the practical aspects of decorative techniques as well as the high level of knowledge about the painter’s materials required for this kind of process.","PeriodicalId":115079,"journal":{"name":"6th International Meeting on Retouching of Cultural Heritage. RECH6","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128047013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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