Oletetun Ivan Aivazovskin merimaiseman aitoustutkimus ja konservointi

Abstract

Opinnäytetyön aiheena on Ivan Aivazovskille (1817–1900) attribuoidun Sotalaivoja linnoituksen liepeillä -teoksen konservointi ja aitoustutkimus. Kyseessä on kankaalle maalattu öljymaalaus, joka on ajoitettu vuodelle 1848. Maalauksen lakka oli kellastunut ja epätasainen, sen maalipinnassa oli laaja krakelyyriverkosto, maalikerroksissa oli pieniä maalipuutoksia ja sen kiilakehys oli vääntynyt ja maalauskangas deformoitunut.

Maalaus kuvattiin ja sen vauriot kartoitettiin. Silmämääräisen tarkastelun lisäksi maalauksen materiaaleja ja rakennetta tutkittiin analyyttisin valokuvausmenetelmin, kemiallisilla värjäyskokeilla, sekä FTIR-ATR -, XRF - ja SEM-EDS-analyyseilla.

Maalaukselle laadittiin konservointisuunnitelma, jonka mukaan se konservoitiin. Maalauksen lakka poistettiin, sen kangas suoristettiin kosteuskäsittelyssä, irtoava maali kiinnitettiin ja maalipuutokset tarpeen mukaan kitattiin ja retusoitiin. Lisäksi maalauksen kiilakehystä tukevoitettiin.

Maalauksen aitoutta tutkittiin sille tehtyjen teknisten tutkimusten pohjalta. Paljastaviksi tekijöiksi osoittautuivat maalauksen signeeraus, sen aluspiirustus sekä sen pigmenttien alkuainekoostumus. Maalauksen todettiin olevan 1800-luvun jälkipuoliskolla maalattu kopio Ivan Aivazovskin vuonna 1844 maalaamasta Malta. Vallettan satama -teoksesta.

The objective of the thesis was the conservation and authentication of an oil painting Sotalaivoja linnoituksen liepeillä. The painting is owned by the Hiekka art museum. It was originally attributed to the Russian painter Ivan Aivazovsky (1817 - 1900) and it was dated to the year 1848. The painting had craquelure, its varnish was uneven and yellowed, it had small paint losses and some loose paint, and its canvas was deformed due to an unstable stretcher.

The painting was documented. Its materials and its structure were studied with the aid of chemical and physical methods. Analytical photography was used and FTIR-ATR-, XRF- and SEM-EDS-analyses were done. Conservation of the painting was done according to the conservation plan made bearing in mind the painting's condition and its materials. The painting was cleaned and its varnish was removed. The deformed canvas was flattened with moisture treatment done on suction table. The loose paint was consolidated and the paint losses were filled when necessary and retouched. The stretcher was also stabilized. The authenticity of the painting was studied by comparing the results of the technical studies of the painting's materials and structure to information about the 19th century and Aivazovsky's painting techniques found in the research literature. Also experts were consulted.

After conservation the overall appearance of the painting was improved and the painting was stabilized. Problems occurred when consolidating the paint layers. In some areas the paint surface suffered blanching and had to be retouched. In authentication the painting was concluded to be a 19th century copy of Aivazovsky’s painting Malta. Valletta Harbour (1844) painted by an unknown artist. The material studies, especially the SEM-EDS-analysis of the painting's pigments, were important when dating the painting. The signature of the painting and its under drawing along with its paint layer structure were revealing in the respects of authenticity. The identity of the creator of the painting was not investigated in the thesis but it was speculated that he could be one of Aivazovsky's followers or students.