PORTFOLIO

Obras intervenidas 2009-2013

Pilar Rodríguez Rodríguez

  Arts Higher School Conservation and Restoration of Cultural Heritage , León (Spain)

  External training:

- Museum of León

- Catholic University of Portugal

  Scholarships Valencian Institute of C+r

  Major altarpiece of Tartanedo church (Guadalajara)

  Sculptures Caudete church (Albacete)

  Politechnic University of Valencia: Master Degree in Cultural Heritage Conservation and Restoration

Arts Higher School Conservation and Restoration of Cultural Heritage , León (Spain)

  “Transfiguración”, S. XVIII, anonymous. College of the Augustinians, León

Initial photo Process filling photo

  Photographic documentation

  Facing

  Removal of a canvas from the stretcher and the frame.

  Lining and tensioned on a stretcher

  Cleaning test

  Chemical cleaning

  Filling

  “San Fulgencio”, S. XVIII, anonymous. College of the Augustinians, León.

Initial photo Process photo.

•  Photographic documentation

•  Facing

•  Removal of a canvas from the stretcher and the frame

•  Lining and tensioned on a stretcher

•  Cleaning test

•  Varnish removal and thinning of overpaints

  Photographic documentation

  Facing

  Mechanical cleaning of the reverse

  Removal of dumps and flake laying.

  Support treatment: Inlays and patchs.

  Tension strip lining

  Tensioned on a stretcher

  P h y s i c a l a n d c h e m i c a l cleaning

  “Virgen de Guadalupe”, S. XVII, anonymous. College of the Augustinians. León.

  “Santa Clara de Montefalco”, S. XVIII, anonymous. College of the Augustinians, León.

Initial Photo Cleaning photo Filling photo

  Photographic documentation

  Facing

  Removal of a canvas from the stretcher and the frame

  Lining and tensioned on a new stretcher

  Chemical cleaning and thinning of overpaints

  Filling

  “Reliquary Cupboard” of Monastery of the Conceptionist Mothers, S. XVI, Berlanga de Duero, Soria. Edades del Hombre.

Cupboard:   Consolidation   Insert some wooden fillets into fisures   Cleaning   Filling and chromatic retouching

Canvases:   Support treatment

  Colour consolidation

  Cleaning

  Filling and chromatic retouching.

  Internal structure of the reliquary cupboard

  Dismantling of the relics

  Chemical cleaning

  Filling

  Applying bole.

  Chromatic retouching with golden watercolor

Storage System for the relics of the internal structure of the reliquary cupboard as a measure of preventive conservation

Altarpiece   Dismantling and transfer to the studio

  Mechanical cleaning

  Extermination of insects and consolidation

  Structural reintegration

  Physical-Chemical cleaning

  Filling and chromatic retouching

  Mounting to the original place

Wooden panels   Mechanical cleaning

  Facing and colour consolidation

  Support consolidation

  Physical-Chemical cleaning

  Filling and chromatic retouching

  Protective varnish coating

  Altarpiece of San Miguel, S. XVI, Vallecillo, León

  Ceramic panel dedicated to Virgen del Camino, José Macías y Macías, S. XX, León Provincial Archive

Initial photo obverse Initial photo reverse Filling

Finish photo obverse Finish photo reverse

  Photographic documentation and conductivity tests

  Cleaning of the obverse and reverse

  Manufacture of missing pieces

  Structural and chromatic reintegration

  Transfer to a new support, Aerolam

  Relocation to its original place

  .   .

Restoration training in León Museum

Training No. 1 Documentation, cleaning and colour consolidation of gilding and polichromy, support consolidation of a popular exhibitor of religious images.

Training No. 2 Documentation, adhesion structural and chromatic reintegration of a Modernist wall tile panel.

  .

Restoration training in Portugal

  Altarpiece da Capela da Quinta do Cruceiro, Ponte de Lima

The main objective is the stabilization of the support, through several treatments:

Mechanical cleaning, fixing polichromy, extermination of insects, support consolidation, replacement of some elements supporting structure, structural reintegration and partial disassembly.

Restoration and consevation training in the IVC+r of Valencia

  Photographic documentation.

  Partial facing.

  Support treatment: inlays, patches and tension strip lining.

  “Virgen de los Desamparados”, Vicente López Portaña (1808) Oil on canvas Sagunto (Valencia).

  Framework of the canvas ”La Virgen del Rosario, San Vicente y Santo Tomás”. Nicolás Borrás. Ibi (Alicante).

Shellac varnish cleaning with p o u l r i c e a n d m e c h a n i c a l cleaning with bisturi.

  Facing and localiced fixing of polichromy layer

  Cleaning and estructural and chromatic reintegration of the reverse

  Cleaning of the mecca gilding and removal of overpaints

  Structural reintegration and filling of obverse

  Applying bole and polishing

  Chromatic retouching and final varnish

  Framework of the canvas ”Santa Isabel y Santa Inés” Convent of Santa Clara, Canals (Alicante)

  Facing and locliced fixing of polichromy layer

  Cleaning and estructural and chromatic reintegration of the reverse

  Cleaning of the mecca gilding and removal of overpaints

  Removal to residues wax.

  Structural reintegration and filling of obverse

  Applying bole and polishing.

  Chromatic retouching

  Final varnish.

  Framework of the canvas “Huída a Egipto”. Convent of Santa Clara, Canals (Alicante)

  Removal of antique fillings and cleaning with Acetona

  Paint layer facing

  Consolidation of paint layer

  Consolidation of the anverse in local places

  “La Predicación de San Juan Bautista”, José Vergara, Iglesia Parroquial San Juan Bautista de Chiva, Valencia. Oil on canvas.

  “Mi Mujer y Mis Hijas en el Jardín” (1920), Sorolla. Oil of canvas. Collection Masaveu, Oviedo.

Training of reception of a Sorolla’s piece with the restorer of IVC+R e a s e l p a i n t i n g d e p a r t m e n t , Immaculada Chuliá Blanco, for Zuloaga and Sorolla exhibition held in Museo del Carmen in Valencia

  Removal of animal glue residues and protective paper.

  Filling of lacunas

  Level a filling and chromatic retouching.

  Altar front of “La Virgen Niña con sus Santos Padres”, Siglo XVII. Anonymous.

Insect extermination from a set of items belonging to a rosette made of wood

  Taking photographs of different pieces with “Reflectance Transformation Imaging” (RTI).

Surface configuration of an engraving seen through different RTI filters with the same direction of illumination

Detail of a painting on table damaged by heat, with conventional lighting (left), filter speculate (centre) and with extra magnification and filter

speculate (right).

  Manufacture of reinforcement patches

  Inlays and intarsies

  Lining in hot and suction table.

  Virgen de los Desamparados, Anonymous. Siglo XVII. Monastery of la Encarnación de Ávila. Oil on canvas.

Training iglesia Tartanedo, Guadalajara   Baroque Altarpiece, S. XVII and Its polychromed sculptures,

Tartanedo, Guadalajara.

  Surface cleaning

  Insect extermination

  Consolidation of strates.

  Chemical cleaning

  Structural reintegration

  Manufacture of moulds

  Chromatic and gold retouching

  Protective varnish coating

  Facing   Consolidation of strates   Mechanical and chemical cleaning   Filling and chromatic retouching   Protective varnish coating

  Virgen, anonymous, S. XX

  Photography documentation

  Mechanical and chemical cleaning

  Filling

  Chromatic retouching

  Protective varnish coating

Initial photo Process photo Finish photo

Scupltures iglesia Caudete (Albacete)

Initial photo RX photography

  Photography documentation.

  Insect Extermination.

  Location fixing.

  Solubility text.

  Chemical cleaning and thinning of overpaints.

  Adhesion of pieces.

  Chromatic retouching.

  Final varnish.

  Mounting in original place. Finish photo

  Cristo de papel, S. XVI-XVII, Anonymous.

  San Joaquín, anonymous, siglo XX

  Photography documentation

  Mechanical and chemical cleaning

  Adhesion of pieces.

  Filling and chromatic retouching

  Protective varnish coating

Initial photo Adhesion process Finish photo

  Pastor, S. XX. Taller de Olot, Alicante

  Photography documentacion

  Mechanical and chemical cleaning

  Adhesion of pieces

  Support consolidation

  Filling and chromatic retouching

  Protective varnish coating

Initial photo Consolidation and filling process photos Finish photo

Initial photo Process photo

Finish photo

Light UV photo.

  Cristo de altar. Anonymous, siglo XX

  Photography documentation   Chemical cleaning   Removal of overpaints.

  Filling   Chromatic retouching   Protective varnish coating

Universidad Politécnica de Valencia: Master Degree in Cultural Heritage Conservation and

restoration

Systems of rear reinforcement for painting on table: Boback reinforcement system for a warp wooden panel.

  Manufacture of mouds and reproductions with different materials