Estrategias aplicadas en el estudio del estado de conservación de la obra Guernica de Picasso
- Autores: Jorge García Gómez-Tejedor
- Localización: La Ciencia y el Arte: Ciencias experimentales y conservación del patrimonio histórico, Vol. 4, 2013 (La Ciencia y el Arte IV. Ciencias experimentales y conservación del patrimonio), ISBN 978-92-0-000140-6, 197 págs.
- Idioma: español
- Enlaces
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Resumen
- español
El estado de conservación del Guernica de Picasso ha sido siempre una de las principales preocupaciones del Departamento de Conservación-Restauración del Museo Reina Sofía.
Es por esto que, desde que la obra entró a formar parte de la colección del museo, se han desarrollado diversas líneas de actuación y de investigación encaminadas a mejorar el conocimiento de los materiales que la conforman, su estado de conservación y la interacción de los agentes medioambientales. En 1998 se publicó un estudio muy exhaustivo sobre el estado de conservación de la obra y, desde entonces, se han venido realizando investigaciones importantes. En 2006 surgió la oportunidad de trabajar con el reverso de la obra, lo que permitió la realización de múltiples análisis. Por ejemplo, se hicieron estudios reflectográficos y de luz ultravioleta en el reverso, se tomaron muestras para analizar los materiales del soporte. No obstante, lo más reseñable fue la radiografía completa que se pudo realizar al lienzo. Hay que destacar la colaboración del Instituto del Patrimonio Cultural de España en estos trabajos.
En 2009 se concibió un nuevo proyecto, que se firmó en 2010 bajo el patrocinio de la Fundación Telefónica: se trata de «Viaje al interior del Guernica», un trabajo que propone realizar un estudio pormenorizado de toda la superficie del cuadro. Se plantearon dos líneas de actuación:
la primera se centra en el desarrollo de un automatismo robotizado de precisión que cumpla con todas las expectativas de calidad, que sea compatible con la exposición del cuadro y que, una vez acabado el estudio, se pueda trasladar fácilmente. La segunda línea de actuación se basa en la interpretación de las imágenes y en la aplicación de los avances necesarios para procesar toda la información con la máxima calidad posible.
A comienzos de 2012 y después de un año de trabajo, se pudo instalar el automatismo y se iniciaron las tomas fotográficas en alta resolución. Esta primera fase concluyó a finales de 2012; de la segunda fase, que ha comenzado a principios del 2013, se espera tener resultados antes de que finalice el 2014.
Con motivo de este trabajo se ha emprendido una labor de recuperación de información, para la que se han digitalizado todos los estudios realizados hasta la fecha en formato analógico. De este modo, se asegura la perdurabilidad de los datos, evitando así las modificaciones provocadas por envejecimiento de los materiales. Entre los aspectos más reseñables de todo este trabajo está la intención de crear una base de información continua que nos permita ir valorando la evolución material de la obra.
- English
The condition of Picasso’s Guernica has always been a matter of great concern for the Conservation and Restoration Department at the Museo Reina Sofía. As soon as the work entered the museum’s collection, a specific action and research plan was drawn up to gain a better understanding of the materials used, their present condition, and their interaction with environmental agents. A detailed study on the condition of the work was published in 1998 and a number of in-depth studies have been conducted at regular intervals since then. In 2006 we were able to work on the reverse side of the piece and took the opportunity to carry out numerous studies, including the use of infrared reflectography and ultraviolet light to examine this side of the work. We also took samples of the materials used in the support, However, perhaps most important of all on this occasion was the chance to take an X-ray of the entire canvas. We are grateful for the assistance received from the Spanish Cultural Heritage Institute on all these processes.
In 2009 we designed a new project entitled «Journey to the Inside of Guernica», which was formalised the following year when Fundación Telefónica pledged to sponsor the initiative.
The cornerstone of this project consists in carrying out a detailed study of the entire surface of the work, to be conducted in two phases. The first phase entails the development of an extremely precise, state-of-the-art Cartesian robot and made cultures to examine the activity of fungi and bacteriawithout interfering with its public display and could be easily removed on completion of the study. The second phase will involve interpreting the images and implementing the necessary mechanisms for processing all the data collected to the highest possible standard.
At the beginning of 2012, after a full year of work, we were able to install the robot and start taking high-resolution photographs of the canvas. This phase concluded in late 2012; the second phase has started in early 2013 and is expected to have results by the end of 2014.
As part of this new project, we have retrieved all the analogue information collected to date in previous studies and converted it into digital format to prevent any loss or modification of the data as a result of the ageing of the materials. Another important aspect of this project is our plan to create a live database so that we can continually evaluate the material evolution of the work over time.The condition of Picasso’s Guernica has always been a matter of great concern for the Conservation and Restoration Department at the Museo Reina Sofía. As soon as the work entered the museum’s collection, a specific action and research plan was drawn up to gain a better understanding of the materials used, their present condition, and their interaction with environmental agents. A detailed study on the condition of the work was published in 1998 and a number of in-depth studies have been conducted at regular intervals since then. In 2006 we were able to work on the reverse side of the piece and took the opportunity to carry out numerous studies, including the use of infrared reflectography and ultraviolet light to examine this side of the work. We also took samples of the materials used in the support, However, perhaps most important of all on this occasion was the chance to take an X-ray of the entire canvas. We are grateful for the assistance received from the Spanish Cultural Heritage Institute on all these processes.
In 2009 we designed a new project entitled «Journey to the Inside of Guernica», which was formalised the following year when Fundación Telefónica pledged to sponsor the initiative.
The cornerstone of this project consists in carrying out a detailed study of the entire surface of the work, to be conducted in two phases. The first phase entails the development of an extremely precise, state-of-the-art Cartesian robot and made cultures to examine the activity of fungi and bacteriawithout interfering with its public display and could be easily removed on completion of the study. The second phase will involve interpreting the images and implementing the necessary mechanisms for processing all the data collected to the highest possible standard.
At the beginning of 2012, after a full year of work, we were able to install the robot and start taking high-resolution photographs of the canvas. This phase concluded in late 2012; the second phase has started in early 2013 and is expected to have results by the end of 2014.
As part of this new project, we have retrieved all the analogue information collected to date in previous studies and converted it into digital format to prevent any loss or modification of the data as a result of the ageing of the materials. Another important aspect of this project is our plan to create a live database so that we can continually evaluate the material evolution of the work over time.
- español
