RESTORATION OF THE CANVAS ICON “HOLY TRINITY”: ICONOGRAPHY AND PAINTING

Abstract

The article highlights the process of restoration of the icon on canvas “Holy Trinity” of the late 19th – early 20th centuries, which was in unsatisfactory technical condition for a long time. The relevance of the topic is due to the need to preserve the monuments of sacred art of Ukraine, a significant part of which today requires urgent conservation and restoration measures. Works on canvas require special attention, since they are more vulnerable to mechanical damage, the influence of humidity, temperature changes and deformations. The purpose of the study was to conduct a comprehensive analysis of the technical condition of the icon, determine the optimal methods of its conservation and restoration, as well as introduce into scientific circulation practical experience of working with large-format sacred painting on canvas. An important task was not only to restore the exhibition appearance of the work, but also to maximize the preservation of authentic materials and artistic features. The research methodology is based on visual inspection, photo fixation, comparative analysis of the iconographic features of the work and experimental selection of restoration materials and cleaning methods. During the work, the technical characteristics of the monument were established, numerous deformations of the base, contamination and loss of the paint layer were detected. A set of restoration measures was carried out: cleaning the back of the canvas from plaster and foreign layers, stretching it onto a new stretcher, strengthening the paint layer, priming losses and tinting damaged areas. Practical work proved the effectiveness of an individual approach to the restoration of complex sacral monuments on canvas and the need for preliminary technological tests before using any restoration materials. The scientific novelty lies in the systematization of practical experience in the restoration of large-format sacral paintings on canvas and the testing of an individual approach to the cleaning of complex contamination. The results of the study can be used in further restoration practice and art institutions