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Restoration of the polyptych by Vittore Carpaccio from the Zadar Cathedral after the Second World War
Sagita Mirjam Sunara
; University of Split, Arts Academy, The Conservation-Restoration Department, Split, Croatia
Puni tekst: hrvatski, pdf (4 MB)
APA 6th Edition
Sunara, S.M. (2011). Restauriranje poliptiha Vittorea Carpaccia iz zadarske katedrale nakon Drugog svjetskog rata. Portal, (2.), 135-146. Preuzeto s https://hrcak.srce.hr/106270
MLA 8th Edition
Sunara, Sagita Mirjam. "Restauriranje poliptiha Vittorea Carpaccia iz zadarske katedrale nakon Drugog svjetskog rata." Portal, vol. , br. 2., 2011, str. 135-146. https://hrcak.srce.hr/106270. Citirano 17.11.2018.
Chicago 17th Edition
Sunara, Sagita Mirjam. "Restauriranje poliptiha Vittorea Carpaccia iz zadarske katedrale nakon Drugog svjetskog rata." Portal , br. 2. (2011): 135-146. https://hrcak.srce.hr/106270
Sunara, S.M. (2011). 'Restauriranje poliptiha Vittorea Carpaccia iz zadarske katedrale nakon Drugog svjetskog rata', Portal, (2.), str. 135-146. Preuzeto s: https://hrcak.srce.hr/106270 (Datum pristupa: 17.11.2018.)
Sunara SM. Restauriranje poliptiha Vittorea Carpaccia iz zadarske katedrale nakon Drugog svjetskog rata. Portal [Internet]. 2011 [pristupljeno 17.11.2018.];(2.):135-146. Dostupno na: https://hrcak.srce.hr/106270
S.M. Sunara, "Restauriranje poliptiha Vittorea Carpaccia iz zadarske katedrale nakon Drugog svjetskog rata", Portal, vol., br. 2., str. 135-146, 2011. [Online]. Dostupno na: https://hrcak.srce.hr/106270. [Citirano: 17.11.2018.]
In the late fifteenth century, the Zadar clergyman Martin Mladošić commissioned a polyptych for St. Martin’s altar at the city’s cathedral. Paintings ware entrusted to the famous Venetian painter Vittore Carpaccio. Of the seven paintings that this polyptych contains, six survived. They were restored several times in the past.
During the Second World War Carpaccio’s paintings were stored in the shelter beneath the tower of St. Mary, in order to protect them from Allied bombing. The church and monastery were destroyed in the war, while the tower suffered only minor damage. The damage to the paintings appeared when they were taken out of the shelters in 1945, due to the sudden changes in microclimatic conditions. The restoration of paintings was entrusted to the prominent Croatian restorer Zvonimir Wyroubal, who worked for the Museum of Arts and Crafts in Zagreb from the year 1942 to the year 1948, and from 1948 to 1965 he was head of the Conservation Institute at the Yugoslav Academy of Arts and Sciences. His intervention on Carpaccio’s paintings in 1947 and 1948 is interesting due to the complexity of technical execution, but also because it was partly done in the war-torn area of Zadar, and partly at the Conservation Institute in Zagreb. The paper presents new details about the circumstances that led to the restoration of Carpaccio’s paintings and factors that determined the scope and course of Wyroubal’s work. Conservation work on the paintings was initiated in August 1947 in a makeshift workshop in Zadar. With the approval of the archbishop of Zadar and the Zagreb Conservation Department, the paintings were transferred to Zagreb, and the restoration continued there, in August and September 1948. Wyroubal reported on the restoration of Carpaccio’s polyptych in the article The Restoration of V. Carpaccio’s Paintings from the Zadar Cathedral. More information about the procedure can be found in the archives of the Croatian Conservation Institute, where records from Wyroubal’s restoration workshop are kept. After Zvonimir Wyroubal’s death, several documents were found among his personal belongings–memos, minutes and reports from the years 1947 and 1948–which shed light on the circumstances in which Carpaccio’s polyptych was restored. The methodology of its conservation and restoration was reconstructed on the basis of written sources.
Zvonimir Wyroubal; Vittore Carpaccio; Zadar; polyptych; painting restoration
Hrčak ID: 106270
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