3329 KB42 KB200720252017Díaz Fernández, Ivana Ninaštevilka:1letnik:11str. 204-223ISSN:1854-9632COBISSID:64831330URN:URN:NBN:SI:doc-9CAQ8NDHenZnanstvena založba Filozofske fakulteteArs et humanitasCeljski stropcerkev Sv. Mihaela v StonuKaraman, Ljubokonservatorstvorestavratorjislovenski slikarjiStele, Francestenske poslikaveSternen, MatejMatej Sternen as a restorer| selected examples in Slovenia and Croatia|Matej Sternen (1870-1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting's surface, or "the ground", and always considered the laws of colours and their relationships and proportions to the white painted surface. In his restoration practice, working together with his close colleagues the art historians France Stele (1886-1972) and Ljubo Karaman (1886-1971), Matej Sternen actualized the principle "conserve instead of restore" that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments - the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen's professional expertise and practical realization of "conserve instead of restore", which speaks in favour of preserving the original work as opposed to aggressive restoration interventionsV literaturi je Matej Sternen (1870-1949) bolje poznan kot impresionistični slikar kakor restavrator umetnin, čeprav je v svoji bogati karieri kot restavrator v letih 1898-1941 odkril in obnovil veliko umetnin, zlasti fresk v Sloveniji in Dalmaciji. Za restavratorstvo se je živo zanimal, o čemer pričajo številni izpiski o slikarski tehnologiji ter o restavratorskih in konservatorskih metodah. To je njegovo slikarstvo obogatilo tako, da se je kot slikar lotil tudi fresk in še nekaterih drugih tehnik. Bil je slikar, ki je izredno pazljivo gradil svoje slike: dobro je obvladal tehniko priprave slikarske podlage ter vedno upošteval zakonitosti barv in njihovih odnosov ter razmerij z ozirom na beli slikarski "grund". Skupaj z bližnjima sodelavcema, umetnostnima zgodovinarjema Francetom Steletom (1886-1972) in Ljubom Karamanom (1886-1971), je Matej Sternen v svoji restavratorski praksi udejanjil v tistem času v stroki vzpostavljeno načelo "konzervirati in ne restavrirati". Raziskava, ki temelji na terenskem delu in študiju arhivskih virov, hranjenih v Ljubljani, Celju, Splitu in Zagrebu, se osredotoča na dva pomembna spomenika umetnostne dediščine - Celjski strop in freske v cerkvici Sv. Mihaela v Stonu. Na izbranih primerih, ki sta s tehničnega in metodološkega vidika zaščite spomenikov različna, so predstavljena Sternenova strokovna izhodišča in njihova praktična realizacija v duhu omenjenega načela, ki zagovarja ohranjanje in zavrača agresivne restavratorske posegeTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete