The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 84-101 Titre : The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 84-101 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940021 Langues : Anglais (eng) Catégories : Bois -- Identification École de Moscou (peinture d'icônes) Églises -- Collections -- Effets du climat Icônes (art) -- Russie -- 20e siècle -- Conservation et restauration Icônes (art) -- Russie -- Histoire La Dernière cène (épisode biblique) -- Peinture -- Russie -- 20e siècle -- Conservation et restauration Peinture -- Technique -- Identification Peinture sur panneaux -- Conservation et restauration -- Technique Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined. [article] The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art [texte imprimé] . - 2023 . - P. 84-101. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940021 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 84-101 Catégories : Bois -- Identification École de Moscou (peinture d'icônes) Églises -- Collections -- Effets du climat Icônes (art) -- Russie -- 20e siècle -- Conservation et restauration Icônes (art) -- Russie -- Histoire La Dernière cène (épisode biblique) -- Peinture -- Russie -- 20e siècle -- Conservation et restauration Peinture -- Technique -- Identification Peinture sur panneaux -- Conservation et restauration -- Technique Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined.

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