Martina Saloňová↓
Gallery
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Madona z Lokte, 1500–1520, dřevěná polychromovaná socha; stav díla před restaurováním, 125 × 40 × 38 cm
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Madona z Lokte, 1500–1520, dřevěná polychromovaná socha; průzkum pomocí počítačové tomografie - CT, 125 × 40 × 38 cm
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Madona z Lokte, 1500–1520, Dřevěná polychromovaná socha; detaily stavu před restaurováním a v průběhu snímání druhotných vrstev, 125 × 40 × 38 cm
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Stigmatizace sv. Františka mezi světci, 1614, nástěnná malba - secco; stav díla po restaurování, 4,25 × 3,60 m
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Čtverečková struktura, Zdeněk Sýkora, 1963, olejomalba na plátně; stav díla před restaurováním, 135,3 × 100 cm
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Mučení sv. Jiří, 1. polovina 16. století, olejomalba na dřevěné podložce; stav díla v průběhu restaurování, 73,1 × 49,5 × 3 cm
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Mučení sv. Jiří, 1. polovina 16. století, olejomalba na dřevěné podložce; stav díla v průběhu restaurování - UV osvětlení, 73,1 × 49,5 × 3 cm
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Madona s modrou rouškou, 1. polovina 19. století, olejomalba na plátně; stav díla před tmelením, 83 × 68 cm
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Madona s modrou rouškou, 1. polovina 19. století, olejomalba na plátně; detail v denním a UV osvětlení - stav v průběhu snímání povrchových nečistot, 83 × 68 cm
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Madona s modrou rouškou, 1. polovina 19. století, olejomalba na plátně; stav díla před restaurováním, 83 × 68 cm
Studies
| 2018–2019 | Restoration of Painted Artworks, AVU (Adam Pokorný) |
| 2017–2018 | Scuola di Restauro, Accademia di Brera, Miláno, Itálie |
| 2013–2018 | Restoration of Painted Artworks, AVU (Karel Stretti) |
About the work
What should people know about your work?
The practical part of my diploma work includes the restoration of three paintings, a polychrome sculpture and a wall painting. The artworks were made with different techniques and come from different time periods, thus requiring different restoration approaches and a sensitivity for understanding the methodological issues and intricacies at stake. The three paintings are Madona s modrou rouškou (Madonna with a Blue Veil), Čtverečková struktura (Blocky Structure) by Zdeněk Sýkora and the panel painting Mučení sv. Jiří (Torture of Saint George). The polychrome sculpture is Madona z Lokte (Madonna of Elbogen) and the fresco is Sv. František mezi světci (Saint Francis Among the Saints).
In my theoretical paper on the theme ‘Methods of removing surface contaminants from the sensitive surfaces of artworks’ I summarise the intricacies of dry methods of removing contaminants, in particular, but I also examine the use of various solid gels.
How do you see yourself and your work five years from now?
Five years from now, I see myself and my work in a very positive light. In my working life I will be able to build my own career in collaboration with my father who already owns a restoration studio. I therefore have a good foundation for the start of my professional career. Our field of expertise is constantly evolving, meaning that education is also important for me and I wish to continue with it. Fortunately, a lot of specialist information is currently available, as are relevant workshops and seminars. Over the next five years, I would like to be able to create a network of contacts in my field, build a name for myself and make good use of new experiences.
Life is not just work, however. Since I got married while still at the academy, I would like to build a family after my studies. Five years from now I’d like to have a supportive environment where I can settle for the rest of my life. I would also like to devote my time to developing foreign language skills and other interests which I put on the back burner during my studies.