Portfolio. Conservation and Restauration. Azahara Buenaposada Fernรกndez
My name is Azahara. Currently I just finished 4th in conservation and restoration of graphic document
in the art school of Salamanca,
Spain, with a total mark of 7.35. In February 2010, I finished University graduate in conservation and restoration of painting and sculpture at the Fundaci贸n Crist贸bal Gabarr贸n in Valladolid, Spain.
I consider myself a happy person, eager to meet new people and experience new things.
ACADEMIC BACKRGROUND
Personal information Azahara Buenaposada Fernández 12/02/86 D3 Parque Arturo León Fl 10º B 47008 Valladolid Spain +034 667058870 buenaposada.azahara@gmail.com
2003/2006
Bachelor of art. School of Art of Valladolid
2006/2010
Diploma in Conservation and Restoration of Cultural Objects (Specialty: Painting and Sculpture). Museum Fundación Cristóbal Gabarrón, Valladolid
2010/2014
Degree in graphic document conservation and restoration. School of Art in Salamanca
LANGUAGES Spanish: native language
COMPUTER SKILLS Adobe CS5
English: A2
Corel
Italian: A1
Microsoft Word Power Point Free Hand
ADITIONAL TRAINING
Course on summer of conservation and restoration for Farming implements and ethnographic patrimony (120 hours). El Rincón del Labrador. Santa Espina, Valladolid Course: Microscopic Recognition of the Woods used for the manufactura of Cultural Objects (10 hours). School of Arts and Superior College of Conservation and Restoration of Cultural Objects (Valladolid) 12ª conferences of conservation of contemporany art (20 hours) National Museum Centro de Arte Reina Sofía de Madrid IV Conferences of Conservation y Restoration of Patrimony of Semana Santa (20 hours) Monasterio de Nuestra Señora de Prado de Valladolid Extraordinary campaign: Conservation and Restoration of some pieces that have been part of the Exposition Light Imagery in Valladolid, organized by the Board oh Holy Week Brotherhoods of the City (80 hours) Organized School of Arts and Superior College of Conservation and Restoration of Cultural Objects, Course: use of enzymes in the conservation and restoration of the graphic document. Taught by Dr. D. Paolo Cremonesi (15 h)
LABOR EXPERIENCE August- September 2009 Curator-restorer and exposure guidelines Conserve, restore and guide visitors Exposición Tierras Altas Restaura, San Pedro Manrique. Soria August- September 2010 July 2011 Curator-restorer of archeological finds Curator-restorer of archeological remains Fundación Raimundo del Rincón Nicolasa Subirán, San Pedro Manrique, Soria June 2011 Course summer for restoration Works in chuch “El Rosarillo” in Valladolid for 40 hours Organized School of Arts and Superior College of Conservation and Restoration of Cultural Objects, Valladolid (Coordinator: Andrés Álvarez Vicente) July/September 2013 Conservation and restoration of painting Company Cambridge Painting Conservation Restoration.
Contents
Graphic Document o Conservation and Restoration o Binding
Painting Conservation and Restoration o Academic years 2006/2010 o Work carried out
Sculpture conservation and Restoration o Academic years 2006/2012 and 2010/2012 o Work carried out
Graphic Document
Conservation and Restoration Letter from a student to a lady Dictionary Cantoral The Ordinances Songbook The widow of GarcĂa photography Portrait photography
Letter from a student to a lady
Treatment Conducted Make photographs Test pH and solubility of inks Mechanical cleaning Bathing with water Cleaning with solvent Bathing with desacidificador Reintegration support and lamination Straightening
Typology: letter Period: 1941 Material and technique: paper and handwritten ink Dimensions: 322 x 442 mm
Reintegration support
Test pH
Lamination
Before
After
Dictionary
Treatment Conducted Make photographs Test pH and solubility of inks Separate book covers Cleaning with solvent Reintegration support strengthen the back Straightening Join the book covers
Typology: book Period: 1988 Material and technique: bound paper Dimensions: 140 x 134 mm
Alterations´ map
Strengthen the back
Before
After
Cantoral Typology: book Material and technique: handwritten and bound parchment Dimensions: 510 x 345 x 215 mm
Before Mechanical cleaning
Elimination of additives
Before Before
Treatment Conducted Make photographs Test solubility of inks Mechanical cleaning Cleaning with solvent Elimination of additives Reintegration support Straightening After Cleaning with solvent
Elimination of additives
After After
The Ordinances Typology: five leaves sewn Period: XVII century Material and technique: handwritten parchment Dimensions: 303 x 422 mm
Before Mechanical cleaning
Before
After
Remove
Before
After
Treatment Conducted Make photographs Test solubility of inks Remove Mechanical cleaning Cleaning with solvent Sewing Reintegration support Straightening
Mechanical cleaning
Reintegration support
Songbook Typology: book Period: 1990 Material and technique: bound paper Dimensions: 280 x 200 mm
Sewing Join the book covers
Treatment Conducted Make photographs Test pH and solubility of inks Separate book covers Cleaning with solvent Sewing Reintegration support strengthen the back Straightening Join the book covers
Before
The widow of Garcia photography Typology: photography Period: XX century Material and technique: positive to black and white Dimensions: 315 x 215 mm
Portrait photography Treatment Conducted Make photographs Test pH and solubility of inks Mechanical cleanning Cleaning with solvent Straightening
Typology: photography Period: XX century Material and technique: gelatin glass plate Dimensions: 125 x 95 x 5.8 mm
Treatment Conducted Make photographs Cleaning with solvent
After
Before
Binding Portfolio and box American Flexible with sewn to punch Flexible with sewn into strips CartonĂŠ On top Padded Case classic
Portfolio and box
Paste cartons
Completed
American
Sawing
Pasting the tarlatan
Inside the book
Sewing
Pasting lace
Completed
Flexible with sewn to punch
Completed
Paste sheets LIds
Union of lids with the book
Sewn headbands
Flexible with sewn into strips
CartonĂŠ and On top
Sewn book Do the half-lap
Completed
Place the needles
Remove the cajo Completed
Padded
Glue the sponge to carton
Sewn book
Glue the kraft paper booklet
Glue the fabric to the
kraft paper
Paste the two previous parts
Completed
Case classic
Sewn headbands
Placement of the bellows
Adjust the nerves
Stick tops and the book
Completed
Adjust the nerves
Painting Conservation and Restoration
Academic years 2006/2010-2012 Prayer in the Orchard Inmaculate Inmaculate Jesuit Saints Altarpiece from El Salvador Altarpiece from Santa Cruz de Yanguas
Prayer in the Orchard Bugging
Typology: religious Period: XVIII century Material and technique: oil on canvas
Place another cloth Before
Treatment Conducted
Patching
Make photographs Surface cleaning Sitting rigging and polychrome Consolidation point Bugging Mechanical and chemical cleaning Place another cloth Plasterwork Chromatic reintegration Strengthen and clean frame Varnishing
8
Mechanical cleaning After
Inmaculate Typology: religious Period: XVII century Material and technique: oil on canvas Dimensions: 125 x 103 mm
Half cleaning
Treatment Conducted
Make photographs Surface cleaning Sitting rigging and polychrome Consolidation point Mechanical and chemical cleaning Plasterwork Chromatic reintegration Varnishing
Before
Inmaculate Typology: religious Period: XVII century Material and technique: oil on canvas Dimensions: 333 x 231 mm Make patches
Before
Treatment Conducted
Arter
Make photographs Surface cleaning Sitting rigging and polychrome Consolidation point Mechanical and chemical cleaning Make patches Plasterwork Chromatic reintegration
After
Jesuit Saints Typology: portrait Period: XVIII century Material and technique: oil on canvas Dimensions: 57 x 44.6 mm
Place another cloth
Half cleaning
Before
Treatment Conducted
Make photographs Surface cleaning Sitting rigging and polychrome Consolidation point Mechanical and chemical cleaning Place another cloth Plasterwork Chromatic reintegration Strengthen and clean frame Varnishing
Strengthen frame
After Chemical cleaning
Altarpiece from El salvador Typology: altarpiece Period: XVII century Material and technique: oil on canvas and gilding on board
Before Working on the scaffold
Before
After
Treatment Conducted Surface cleaning Sitting rigging and polychrome Consolidation point Mechanical and chemical cleaning Volumetric reintegration: Epoxy resin Plasterwork Chromatic reintegration Varnishing
Half cleaning
After
Altarpiece from Santa Cruz de Yanguas Typology: altarpiece Period: 1626 Material and technique: oil and gilding on board Dimensions: 4 x 3.5 m
Treatment Conducted Dismantling Surface cleaning of the walls Sitting rigging and polychrome Disinsection Consolidation Chemical cleaning Volumetric reintegration Plasterwork Chromatic reintegation Varnishing
Before Chromatic reintegation
Bugging
Wallpaper
Half cleaning After Plasterwork
Work carried out Lament over the dead Christ Work in Company Cambridge Painting Conservation Restoration.
Lament over the dead Christ Typology: religious Period: XVIII century Material and technique: oil on copper and gilding on board Dimensions: 145 x 125 cm
Before Frame with Bowl
Treatment Conducted Surface cleaning of the walls Sitting rigging and polychrome Disinsection Consolidation Chemical cleaning Volumetric reintegration Plasterwork Chromatic reintegation Varnishing
Half cleaning
Clean gold
After
Half cleaning
Work In Company Cambridge Painting Conservation Restoration Typology: portraits Period: XVIII, XIX and XX century Material and technique: oil on wood and oil on canvas
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration: o Epoxy resin •Plasterork • Chromatic reintegration •Varnishing
Sculpture Conservation and Restoration
Academic years 2006/2010 and 2010/2012 Santa Teresa Ecce Homo Sanctuary Altarpiece from Salduero Altarpiece from Vizmanos
Santa Teresa
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration: o Epoxy resin •Plasterwork • Chromatic reintegration •Varnishing
Typology: religious Period: XVII century Material and technique: oil on wood Dimensions: 815 mm
Before
After
After
Half cleaning
Ecce Homo
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Plasterwork • Chromatic reintegration •Varnishing
Typology: religious Period: XVII century Material and technique: oil on papelón Dimensions: 437 x 48 x 29 mm
Chromatic reintegration
Half cleaning
After
Before
Sanctuary
Typology: religious Period: XVIII century Material and technique: oil on wood Dimensions: 770 x 594 x 406 mm
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical cleaning
Joining fragments
Wallpaper
Before Injecting insecticide
Altarpiece from Salduero
Treatment Conducted Dismantling Surface cleaning of the walls Sitting rigging and polychrome Disinsection Consolidation Chemical cleaning Volumetric reintegration Plasterwork Chromatic reintegation Varnishing
Typology: altarpiece Period: 1626 Material and technique: oil and gilding on board Dimensions: 4 x 3.5 m
Half cleaning Before
After
Altarpiece from from Vizmanos
Treatment Conducted • Surface cleaning of the walls • Sitting rigging and polychrome • Disinfestation • Chemical and mechanical cleaning • Reintegration volumatric: o With molds o Felling o Molded • Plasterwork • Chromatic reintegration • Varnishing
Storagei
Half cleaning
Before
Typology: altarpiece Period: XVI century Material and technique: polychromed wood
Half cleaning
Mould After
Work carried out Sanctuary Christ crucified Christ crucified Virgin and child San Roque´s dog Archeological material
Sanctuary
Treatment Conducted
Typology: religious Period: XVII century Material and technique: oil and gilding on board Dimensions: 4 x 3.5 m Half cleaning
• Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration: o Epoxy resin •Plasterwork • Chromatic reintegration •Varnishing
Before Before
After
After
Treatment Conducted
Christ crucified
• Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration: •Plasterwork • Chromatic reintegration •Varnishing
Typology: religious Period: XVIII century Material and technique: oil on wood
Chromatic reintegration
Detail of the face
Half cleaning
Before
After
Christ crucified
Typology: religious Period: XVIII century Material and technique: oil on wood Dimensions: 760 mm
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration •Plasterwork • Chromatic reintegration •Varnishing
Before
Half cleaning After
After
Virgin and child
Typology: religious Period: XVI century Material and technique: oil on wood Dimensions: 1220 mm
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration •Plasterwork • Chromatic reintegration •Varnishing
Before
Half cleaning After Plasterwork
San Roque´s Dog
Treatment Conducted • Surface cleaning • Sitting rigging and polychrome • Consolidation point • Mechanical and chemical cleaning •Volumetric reintegration: o Epoxy resin •Plasterwork • Chromatic reintegration •Varnishing
Typology: religious Period: XVIII century Material and technique: oil on wood Dimensions: 190 x 220 mm
Chromatic reintegration
Before
After
Plasterwork
Archaeological material Treatment Conducted  
surface cleaning treatment structural strengthening of the fragments comprising the piece.
Medieval ceramics
Celtiberian spike
Roman ceramic
Azahara Buenaposada Fernรกndez +034 667058870 buenaposada.azahara@gmail.com