Identificación del estado de conservación y composición química de pinturas Musas I y Musas II del Teatro Nacional de Costa Rica
Fecha
2024-10
Tipo
tesis de maestría
Autores
Barrantes Madrigal, Melissa Daniela
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Resumen
La utilización de herramientas y técnicas de ciencias en materiales para la comprensión y resolución de problemas relacionados con objetos del patrimonio cultural y su conservación es una rama de investigación de crecimiento reciente en Costa Rica. Las pinturas Musas I y Musas II del escenógrafo italiano Carlo Ferrario son obras de gran valor para el patrimonio cultural costarricense pues estas pinturas han decorado el Teatro Nacional de Costa Rica (TNCR) desde su inauguración en 1897. Estas obras se encuentran en el cielo raso de un salón en el primer piso del inmueble, la antigua Cantina de los hombres. Dada la antigüedad de las pinturas y la falta de información sobre la elaboración y restauraciones de las obras; la evaluación de su estado de conservación, así como la obtención de información sobre los materiales que las constituyen es una tarea imprescindible en el proceso que lleve a su protección y restauraciones futuras. Con este proyecto de investigación se aplicó la fotografía multiespectral para examinar el estado físico de las obras de gran formato de manera no invasiva. Con el cual se evidenció la presencia de deterioros y particularidades de procesos pictóricos. Por otra parte, análisis invasivos de microscopia y espectroscopía permitieron caracterizar la estratigrafía que compone las pinturas e identificar materiales en ellas. Muchos de los cuales coinciden con lo esperado según registros antiguos del TNCR y de literatura sobre este artista. Finalmente, se establecieron zonas de atención prioritaria de acuerdo con un sistema de evaluación de los deterioros presentes en las obras en estudio. Los hallazgos anteriores se correlacionaron para brindar una sugerencia de los materiales presentes en las zonas clasificadas como de atención alta. Esta información sobre las obras corresponde a una línea base que permitirá al Departamento de Conservación del TNCR, facilitar las estrategias de conservación y restauración que en la actualidad requieren las pinturas.
The use of tools and techniques from material sciences for understanding and solving problems related to cultural heritage objects and their conservation is a recently growing research branch in Costa Rica. The paintings Musas I and Musas II by the Italian scenographer Carlo Ferrario are of great value to Costa Rican cultural heritage, as these paintings have adorned the National Theater of Costa Rica (TNCR) since its inauguration in 1897. These works are located on the ceiling of a room on the first floor of the building, the former Men's Cantina. Given the age of the paintings and the lack of information about their creation and past restorations, evaluating their conservation status and obtaining information about the materials they are composed of is an essential task in the process leading to their protection and future restorations. In this research project, multispectral photography was applied to examine the physical condition of the large-scale works in a non-invasive manner, revealing the presence of deterioration and peculiarities of pictorial processes. Additionally, invasive analyses using microscopy and spectroscopy allowed for the characterization of the stratigraphy that makes up the paintings and the identification of materials within them, many of which correspond to expectations based on historical records of the TNCR and literature on this artist.The use of tools and techniques from material sciences for understanding and solving problems related to cultural heritage objects and their conservation is a recently growing research branch in Costa Rica. The paintings Musas I and Musas II by the Italian scenographer Carlo Ferrario are of great value to Costa Rican cultural heritage, as these paintings have adorned the National Theater of Costa Rica (TNCR) since its inauguration in 1897. These works are located on the ceiling of a room on the first floor of the building, the former Men's Cantina. Given the age of the paintings and the lack of information about their creation and past restorations, evaluating their conservation status and obtaining information about the materials they are composed of is an essential task in the process leading to their protection and future restorations. In this research project, multispectral photography was applied to examine the physical condition of the large-scale works in a non-invasive manner, revealing the presence of deterioration and peculiarities of pictorial processes. Additionally, invasive analyses using microscopy and spectroscopy allowed for the characterization of the stratigraphy that makes up the paintings and the identification of materials within them, many of which correspond to expectations based on historical records of the TNCR and literature on this artist. Finally, priority attention areas were established based on an evaluation system of the deteriorations present in the studied works. Previous findings were correlated to provide suggestions regarding the materials present in areas classified as needing high attention. This information about the works constitutes a baseline that will enable the Conservation Department of the TNCR to facilitate the conservation and restoration strategies currently required for the paintings.
The use of tools and techniques from material sciences for understanding and solving problems related to cultural heritage objects and their conservation is a recently growing research branch in Costa Rica. The paintings Musas I and Musas II by the Italian scenographer Carlo Ferrario are of great value to Costa Rican cultural heritage, as these paintings have adorned the National Theater of Costa Rica (TNCR) since its inauguration in 1897. These works are located on the ceiling of a room on the first floor of the building, the former Men's Cantina. Given the age of the paintings and the lack of information about their creation and past restorations, evaluating their conservation status and obtaining information about the materials they are composed of is an essential task in the process leading to their protection and future restorations. In this research project, multispectral photography was applied to examine the physical condition of the large-scale works in a non-invasive manner, revealing the presence of deterioration and peculiarities of pictorial processes. Additionally, invasive analyses using microscopy and spectroscopy allowed for the characterization of the stratigraphy that makes up the paintings and the identification of materials within them, many of which correspond to expectations based on historical records of the TNCR and literature on this artist.The use of tools and techniques from material sciences for understanding and solving problems related to cultural heritage objects and their conservation is a recently growing research branch in Costa Rica. The paintings Musas I and Musas II by the Italian scenographer Carlo Ferrario are of great value to Costa Rican cultural heritage, as these paintings have adorned the National Theater of Costa Rica (TNCR) since its inauguration in 1897. These works are located on the ceiling of a room on the first floor of the building, the former Men's Cantina. Given the age of the paintings and the lack of information about their creation and past restorations, evaluating their conservation status and obtaining information about the materials they are composed of is an essential task in the process leading to their protection and future restorations. In this research project, multispectral photography was applied to examine the physical condition of the large-scale works in a non-invasive manner, revealing the presence of deterioration and peculiarities of pictorial processes. Additionally, invasive analyses using microscopy and spectroscopy allowed for the characterization of the stratigraphy that makes up the paintings and the identification of materials within them, many of which correspond to expectations based on historical records of the TNCR and literature on this artist. Finally, priority attention areas were established based on an evaluation system of the deteriorations present in the studied works. Previous findings were correlated to provide suggestions regarding the materials present in areas classified as needing high attention. This information about the works constitutes a baseline that will enable the Conservation Department of the TNCR to facilitate the conservation and restoration strategies currently required for the paintings.
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Palabras clave
Musas I, Musas II, conservación de pinturas, composición química de pinturas, patrimonio cultural costarricense