Yağlı boya tuval resimlerinin rötuş uygulamalarında kullanılan malzemeler ve deneysel uygulamalar: Ham ve Yanmış Sienna pigment örneği

Year 2021, Volume: 27 Issue: 46, 44 - 58, 30.03.2021

Berna Çağlar Eryurt

https://doi.org/10.32547/ataunigsed.835656

Abstract

Yağlı boya tuval resimlerinin restorasyonundaki son aşamalarından ve estetik müdahalelerinden biri olarak değerlendirilen rötuş (renksel tamamlama) geçmişten günümüze en tartışmalı onarım müdahalelerinden biri olmuştur. Malzeme, teknik, tekniğin kullanılacağı yöntem, boya, pigment, bağlayıcı çeşidi gibi birçok değişken pek çok araştırmaya konu olmuş; deneysel uygulamalar yapılarak değerlendirmelere gidilmiştir. Günümüzde konuya ilişkin tartışmalar devam etmekle birlikte, her geçen gün kullanıma sürülen yeni malzemeler ile çeşitlilik daha da artmaktadır. Farklı reçinelerle hazırlanan rötuş boyaları, pigment balmumu/reçineleri ve rötuş jelleri denenmekte, alternatifler aranmaktadır. Yaygın kullanılan rötuş boyaları ise hem restoratörler tarafından hazırlanabilmekte hem de hazır olarak piyasada bulunabilmektedir.
Bu çalışma, rötuş uygulamalarında kullanılan yöntemlere değinerek, günümüzde tercih edilen bazı malzemeleri ve aralarındaki fiziksel farklılıkları sunmayı hedeflemektedir. Bu amaçtan yola çıkarak, yağlı boya tuval resimlerinin onarımında rötuşun uygulandığı iki farklı dolgu malzemesi (Bologna Alçısı ve Modostuc) ile Rönesans dönemi ve öncesinde kullanılan toprak pigmentlerden “Ham (Raw) Sienna” ile “Yanmış (Burnt) Sienna” renkleri farklı marka ve boya-bağlayıcı türleri denenerek ton, opaklık ve parlaklık gibi özellikleri değerlendirilmiştir. Rötuş için en ideal boya ve bağlayıcısının bu uygulama için üretilmiş ya da restoratörler tarafından hazırlanmış olan boyalar olduğu sonucuna varılmıştır.

Keywords

Tuval resmi, Rötuş, Boya, Ham Sienna, Yanmış Sienna, Burnt Sienna

Materials Used in Oil Painted Canvas Paintings and Experimental Practices: Raw and Burnt Sienna Pigment

Abstract

Retouching (color reintegration), which is considered as one of the final process and aesthetic interventions in the restoration of oil paintings, has been one of the most controversial restoration processes from the past to the present. Many variables such as material, technique, method of use, paint, pigment, binder type have been the subject of many studies. Experimental applications and evaluations were made. Today, although the discussions on the subject have been continued, the variety is increasing with the new materials that are put into everyday usage. Retouching paints, pigment wax/resins, and retouching gels prepared with different resins are tried and alternatives are sought. Commonly used retouching paints can be prepared by restorators and are available on the market as ready-made.
This study aims to present some of the materials preferred today and the physical differences between them by mentioning the methods used in retouching practices. Considering this aim, two different filling materials (Bologna Gypsum and Modostuc) to which the retouching is practiced in the restoration of oil paintings, the earth pigments "Raw Sienna" and "Burnt Sienna" which were used in the Renaissance period and before, are different brands and paint-binder types were tested and their properties such as tone, opacity, and brightness were evaluated. It was concluded that the most ideal paint and binder for retouching are paints produced for this practice or prepared by restorators.

Keywords

Canvas Painting, Retouching, Paint, Raw Sienna

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