{"id":558,"date":"2022-03-19T09:00:55","date_gmt":"2022-03-19T09:00:55","guid":{"rendered":"http:\/\/www.artconservation.me\/?p=558"},"modified":"2022-03-19T10:59:42","modified_gmt":"2022-03-19T10:59:42","slug":"stone-statue-conservation-brussels","status":"publish","type":"post","link":"https:\/\/www.artconservation.me\/fr\/stone-statue-conservation-brussels\/","title":{"rendered":"La restauration de la sculpture en marbre repr\u00e9sentant l\u2019Hiver"},"content":{"rendered":"

Laura Porcu,<\/span> restauratrice ind\u00e9pendante \u2022 <\/span>Perrine Franco<\/span>, restauratrice ind\u00e9pendante
\n<\/span><\/p>\n

 <\/p>\n

\"\"Description de la sculpture<\/span><\/h2>\n

La sculpture objet de l\u2019intervention se trouve dans les magnifiques Jardins d’Annevoie.<\/span><\/p>\n

(<\/span>http:\/\/www.annevoie.be\/fr\/<\/span><\/a>)<\/span><\/p>\n

Elle <\/span>repr\u00e9sente l\u2019all\u00e9gorie de l\u2019Hiver: le th\u00e8me des quatre saisons est fortement pr\u00e9sent dans les \u0153uvres artistiques de tous temps. L\u2019all\u00e9gorie de l\u2019Hiver est li\u00e9e au concept du passage du temps et donc \u00e0 la fugacit\u00e9 de l’existence humaine.\u00a0<\/span>
\n<\/span>La connexion entre ce th\u00e8me et celui des saisons trouve sa gen\u00e8se \u00e0 l’\u00e9poque classique, quand les saisons ont commenc\u00e9 \u00e0 s’identifier aux diff\u00e9rents moments de la vie de l\u2019homme: la naissance (printemps), la jeunesse (\u00e9t\u00e9), l’\u00e2ge adulte (automne) et la vieillesse (hiver).\u00a0<\/span>
\n<\/span>L\u2019iconographie la plus diffus\u00e9e de l’Hiver reste celle du vieil homme barbu emmitoufl\u00e9 dans un long manteau et une capuche couvrant la t\u00eate, comme dans ce cas.<\/span>\u00a0<\/span><\/p>\n

Le sujet du vieillard tenant un brasero en saisit \u00e0 merveille toute la froideur de la saison.\u00a0<\/span><\/p>\n

La sculpture est conserv\u00e9e dans les jardins, \u00e0 l\u2019ext\u00e9rieur.<\/span><\/p>\n

<\/h2>\n

Analyse de l\u2019\u00e9tat de conservation<\/span><\/h2>\n

D\u2019apr\u00e8s l\u2019analyse visuelle de l\u2019\u00e9tat de conservation de la sculpture, son \u00e9tat structurel \u00e9tait relativement stable. N\u00e9anmoins son \u00e9tat de surface pr\u00e9sentait plusieurs alt\u00e9rations dues \u00e0 son emplacement \u00e0 l\u2019ext\u00e9rieur.\u00a0<\/span><\/p>\n

La surface \u00e9tait recouverte de d\u00e9p\u00f4ts de poussi\u00e8re, y compris des d\u00e9jections d\u2019oiseaux et des nids d\u2019insectes. De plus, plusieurs zones \u00e9taient alt\u00e9r\u00e9es par la pr\u00e9sence de colonisations v\u00e9g\u00e9tales de plusieurs sorte et par la formation de cro\u00fbtes noires, un ph\u00e9nom\u00e8ne de d\u00e9gradation typique des sculptures conserv\u00e9es dehors.<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/i><\/p>\n

D\u00e9tail du bras: cro\u00fbtes noires<\/span><\/i><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail de la veste: d\u00e9jections d\u2019oiseaux<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail de la barbe: nid d\u2019insecte<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail des pieds<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail: colonisations biologiques (lichens et champignons)<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail de la veste<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail: colonisation biologiques (mousses et algues)<\/span><\/p>\n

 <\/p>\n

Ces patines biologiques et ces cro\u00fbtes <\/span>perturbaient fortement la lisibilit\u00e9 des volumes et changeaient compl\u00e8tement la perception de la couleur originale du marbre\u00a0; par ailleurs, elles provoquaient des alt\u00e9rations physiques et chimiques.<\/span><\/p>\n

La surface de la sculpture \u00e9tait \u00e9galement partiellement \u00e9rod\u00e9e par les intemp\u00e9ries. Cette \u00e9rosion est un ph\u00e9nom\u00e8ne fr\u00e9quent sur les marbres conserv\u00e9s en ext\u00e9rieur. Cela se traduit par des pertes de mati\u00e8re et une fragilisation de la surface qui, au fil du temps, induit la formation de fissures. Cette d\u00e9gradation est susceptible d\u2019augmenter si les fissures ne sont pas trait\u00e9es.<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail du brasier<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail: \u00e9rosion de la surface<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail de la veste: <\/span>pertes de mati\u00e8re<\/span><\/p>\n

 <\/p>\n

\"\"<\/span><\/p>\n

D\u00e9tail de la veste: <\/span>fissures<\/span><\/p>\n

 <\/p>\n

Les patines biologiques et leur d\u00e9veloppement<\/span><\/h2>\n

La pr\u00e9sence de patines v\u00e9g\u00e9tales sur les \u0153uvres d\u2019art n\u2019est pas n\u00e9gligeable\u00a0: non seulement cela alt\u00e8re la perception d\u2019un point de vue chromatique et des volumes, mais elle provoque aussi d\u2019importantes alt\u00e9rations physiques et chimiques qui peuvent changer \u00e0 la structure d\u2019origine m\u00eame du mat\u00e9riau pierreux. Pour ces raisons, en pr\u00e9sence de colonies d\u2019organismes v\u00e9g\u00e9taux on parle de bio-d\u00e9t\u00e9rioration.<\/span><\/p>\n

Comment la bio-d\u00e9t\u00e9rioration se forme-t-elle ? La colonisation est caus\u00e9e par un m\u00e9canisme naturel\u00a0: le transport par le vent du bio-a\u00e9rosol, une dispersion des parcelles biologiques\u00a0suspendues. Celles-ci sont d\u00e9pos\u00e9es sur la surface de la sculpture et si les conditions sont favorables (la surface est suffisamment humide et poreuse\/rugueuse) les micro-organismes commencent \u00e0 se d\u00e9velopper.\u00a0<\/span><\/p>\n

La colonisation commence par des organismes pionniers autotrophes (lichens et bact\u00e9ries<\/span>), ceux-ci vont permettre le d\u00e9veloppement successif des organismes h\u00e9t\u00e9rotrophes.\u00a0<\/span><\/p>\n

Tous ces organismes v\u00e9g\u00e9taux provoquent des alt\u00e9rations physiques (surtout les organismes endophytiques qui, en raison de conditions superficielles d\u00e9favorables, s’infiltrent dans les profondeurs du mat\u00e9riau, en exploitant les microfissures et les irr\u00e9gularit\u00e9s) et chimiques\u00a0: dans ce cas les d\u00e9g\u00e2ts sont caus\u00e9s par l\u2019activit\u00e9 m\u00e9tabolique des micro-organismes qui, en lib\u00e9rant des acides organiques, solubilisent les min\u00e9raux qui composent la pierre, corrodant lentement la surface. De plus, leur croissance, leur tendance \u00e0 absorber et \u00e0 lib\u00e9rer de l’humidit\u00e9, avec pour cons\u00e9quence une augmentation et une diminution de leur volume provoquant des tensions et des contraintes m\u00e9caniques sur la surface de la pierre. Cela cause, au fil du temps, des micro-\u00e9clatements de mati\u00e8re.<\/span><\/p>\n

 <\/p>\n

L\u2019intervention de restauration<\/span><\/h2>\n

Le but de l\u2019intervention de restauration \u00e9tait de traiter les alt\u00e9rations mises en exergue pendant l\u2019analyse de l\u2019\u00e9tat de conservation.\u00a0<\/span><\/p>\n

La premi\u00e8re \u00e9tape a \u00e9t\u00e9 la suppression des patines biologiques pr\u00e9sentes sur la surface de la sculpture\u00a0: parmi les micro-organismes connus on a identifi\u00e9 (visuellement) la pr\u00e9sence d\u2019algues, de mousses et de champignons micro-coloniaux noirs.<\/span><\/p>\n

L\u2018\u00e9limination des patines biologique est un processus difficile qui n\u00e9cessite des applications prolong\u00e9es d\u2019un produit biocide avec des compresses. \u00a0Dans ce cas-ci, nous avons choisis de r\u00e9aliser des compresses \u00e0 base de pulpe de cellulose et silice micronis\u00e9e avec une solution d\u2019eau et biocide. Une fois ces compresses retir\u00e9es, nous avons poursuivi le nettoyage et l\u2019\u00e9limination des patines biologiques \u00e0 l\u2019aide de brosse. Nous avons \u00e9galement rinc\u00e9 toute la surface \u00e0 l\u2019eau d\u00e9min\u00e9ralis\u00e9e pour \u00e9liminer les r\u00e9sidus. Dans certaines zones, nous avons d\u00fb reproduire l\u2019op\u00e9ration plusieurs fois.\u00a0<\/span><\/p>\n

Ensuite, nous avons proc\u00e9d\u00e9 \u00e0 la consolidation des fissures. Pour ce faire, nous avons appliqu\u00e9 un lait de chaux. Ce dernier a l\u2019avantage d\u2019\u00eatre compatible avec les mat\u00e9riaux pierreux comme dans ce cas-ci le marbre et va op\u00e9rer une carbonatation sur la surface.\u00a0<\/span><\/p>\n

Une fois les fissures consolid\u00e9es, nous avons r\u00e9alis\u00e9 des bouchages sur les fissures pour \u00e9viter qu\u2019en cas de pluie, l\u2019eau ne stagne dans les fissures et s\u2019infiltre. Les bouchages ont \u00e9t\u00e9 fait avec un mortier \u00e0 base chaux et de sable.<\/span><\/p>\n

 <\/p>\n

Conclusion<\/span><\/h2>\n

La restauration des sculptures en ext\u00e9rieur pose souvent plusieurs d\u00e9fis\u00a0: dans le cas sp\u00e9cifique de la sculpture de l\u2019Hiver notamment, la pr\u00e9sence massive des <\/span>micro-organismes favoris\u00e9e par des facteurs intrins\u00e8ques du mat\u00e9riau et des conditions de microclimats favorables.\u00a0<\/span><\/p>\n

N\u00e9anmoins <\/span>ici, les tests ont \u00e9t\u00e9 concluants et nous avons pu \u00e9liminer efficacement toutes les diff\u00e9rentes colonisations biologiques. En effet, chaque sculpture, chaque pierre, chaque alt\u00e9ration est diff\u00e9rente et peut r\u00e9agir ou non \u00e0 diff\u00e9rents traitements\u00a0: la phase de recherche de traitements ad\u00e9quats et surtout qui sont efficaces peut parfois prendre du temps, mais c\u2019est indispensable pour obtenir le r\u00e9sultat souhait\u00e9.<\/span><\/p>\n

 <\/p>\n

1 – Voir photos: les patines biologiques peuvent \u00eatre de couleur verte, \u00e0 noire, ou encore jaune\/rouge.
\n<\/span>2 – Voir photos: <\/span>la croute noire est g\u00e9n\u00e9ralement de couleur grise \u00e0 noire fonc\u00e9e.
\n<\/span>3 –\u00a0Ceux-ci sont autotrophes, donc capables de fixer de mani\u00e8re autonome le carbone pr\u00e9sent dans l’atmosph\u00e8re \u00e0 des fins de respiration cellulaire.<\/span><\/p>\n

\u00a9<\/span> Ernest-Tom LOUMAYE, Propri\u00e9taire du Domaine d\u2019Annevoie, Ma\u00eetre d\u2019Ouvrage et M\u00e9c\u00e8ne des restaurations.<\/span><\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

Laura Porcu, restauratrice ind\u00e9pendante \u2022 Perrine Franco, restauratrice ind\u00e9pendante   Description de la sculpture La sculpture objet de l\u2019intervention se trouve dans les […]<\/p>\n","protected":false},"author":2,"featured_media":13999,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[113],"tags":[],"class_list":["post-558","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-conservation"],"yoast_head":"\nLa restauration de la sculpture en marbre repr\u00e9sentant l\u2019Hiver - ART CONSERVATION Brussels - Italian restorer Laura Porcu<\/title>\n<meta name=\"description\" content=\"Analyse de l\u2019\u00e9tat de conservation - D\u2019apr\u00e8s l\u2019analyse visuelle de l\u2019\u00e9tat de conservation de la sculpture, son \u00e9tat structurel \u00e9tait relativement stable. 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