El relieve de la pintura. Una aproximación a la superficie pictórica desde la conservación

Laburpena

The present thesis deals with the relief of painting. The three-dimensional quality of the pictorial surface is an essential aspect of the artwork that, however, has not been sufficiently recognized. Looking at the history and theory of art conservation and restoration, this inquiry investigates the ways in which relief has been considered (acknowledged, ignored, altered, imitated, etc.) by those responsible for the material preservation of paintings. Different restoration practices – some obsolete, others still in use – have transformed to a greater or lesser degree, consciously or not, the shape and texture of artworks. Operations such as support transfers, linings, reintegration of paint losses and cleanings have sparked well-known historical controversies; these practices are considered and analyzed to understand the role that surface relief may have played in their development, application and, eventually, abandonment. The growing awareness of the importance of the artwork as a historical document militates towards an idea of preventive conservation (or minimal intervention) that is directly informed by the growing capacity of non-invasive documentation. Digital technology makes it possible to visualize and measure pictorial relief with a level of detail and precision unimaginable just a few decades ago. The development of non-contact scanning systems specifically designed for recording the complex surface of paintings offers a new (virtual) perspective of the relief from which to recognize paintings’ historical trajectory. Additionally, digital technology allows a (material) restitution of the three-dimensional data, opening the door to the production of increasingly accurate facsimiles, which bear the potential to actively contribute to the conservation, study and dissemination of the originals