Core subject, to be taken by all students of the Degree in Conservation and Restoration. It focuses on the study of Sculptural Cultural Heritage and, by extension, three-dimensional museum objects made of wood.

It analyses the elements that constitute them, the characteristics of wood, the agents of alteration and deterioration to which they may be vulnerable, the pathologies they cause, intervention methodology and the most common prevention, conservation and restoration treatments in these works.

This subject is closely linked to the other subjects taught in the last two years of the Degree in Conservation and Restoration, fundamentally with the subject Restoration of Sculptural Works on Different Supports, of which it forms the basis, with Sculptural Techniques, which complements it, as well as with the subjects Preventive Conservation, Theory of Conservation and Intervention Criteria, Scientific Foundations of Conservation and Restoration and Technical Examination and Documentation.

Specific competences:

1CE.: Know the fundamental aspects of the sculptural work from the point of view of its conservation-restoration (material composition, alterations, causes of deterioration and treatments) (G004, C3CC02). (G004, C3CC02).

2CE: Interpret the state of conservation of the work on the basis of the alterations and causes of deterioration identified (G005, C3CC04).

3CE: Select the most appropriate intervention criteria, examination methods and conservation conditions (exhibition, storage, transport and deposit) (G007, C3CC04).

4CE: Determine a correct intervention proposal, specifying the methodology, treatments and suitable materials (G009, C3CC03).

5CE: Demonstrate mastery of the technical skills for the professional activity.



Transversal competences:

1CT: Apply knowledge to work in a professional manner (CB2).

2CT: Gather and interpret data to make judgements that include reflection (CB3).

3CT: Convey information to both specialist and non-specialist audiences (CB4).



Learning outcomes:

1RA: Describe the cultural property correctly, list the materials and decorative techniques involved and identify the pathologies present.

2RA: Explain in a professional and well-argued manner the state in which the cultural object is found.

3RA: Establish the necessary procedures for the study and conservation of the work in a critical, reasoned and justified manner.

4RA: Draw up a structured intervention project in accordance with the conditions present in the work, with correctly organised information and planned methodology.

5RA: Correctly carry out conservation-restoration treatments specific to polychrome wood sculpture (consolidations, fixations, reintegrations).

Theme I. Wood

1.1. Brief historical overview

1.2. Characteristics

1.3. Composition

1.4. Classification

1.5. Physical properties

1.6. Defects and anomalies

1.7. Identification

DESCRIPTION: In this first introductory subject to the course, the knowledge of woody material is approached from all points of view that are of interest to the conservation-restoration profession.



Topic II. Sculpture

2.1. Wood carving.

2.2. Polychromy and decorative techniques.

DESCRIPTION: The process of creating a polychrome wood sculpture is studied, from the choice of the wood to be used as a support, to the different polychrome and decorative techniques.



Topic III. Altarpieces

3.1. Brief history and styles.

3.2. Plan.

3.3. Components.

3.4. Assemblies.

3.5. Iconographic reading.

DESCRIPTION: An in-depth study of the stylistic, iconographic and structural aspects to be taken into account when studying an altarpiece.



Topic IV. Alterations, deterioration and deterioration agents.

4.1. Alterations and deterioration.

Agents of deterioration.

DESCRIPTION: The main alterations and pathologies that sculptural works present at the level of the support, preparation, polychromy and protective layer are known. It is also related to the causes that originate them, establishing correspondences that will allow the development of preventive conservation plans.



Theme V. Conservation-restoration treatments.

Conservation treatments.

5.2. Restoration treatments.

5.3. Non-intervention, previous interventions and preventive conservation.

DESCRIPTION: This block details the most common conservation and restoration treatments, including knowledge of the materials, processes and techniques for carrying them out. It will also cover alterations that do not generally require intervention, study various types of previous interventions carried out on works in order to decide what to do with them, and study preventive conservation guidelines.



Item VI. Technical examination and report

6.1. Technical examination.

6.2. Technical report.

DESCRIPTION: The guidelines and standardised structure for correctly carrying out the examinations prior to the intervention, as well as the post-treatment report, are presented. The human, technical and instrumental resources to carry out the study of the sculptural work are known.



Topic VII. Study, matching of polychromies and dismantling of altarpieces.

7.1. Correspondence of polychromies.

7.2. Dismantling of altarpieces.

DESCRIPTION: This course will go into certain techniques in depth, such as the drawing up of a polychrome correspondence chart and the dismantling of altarpieces.







Practical I. Intervention on a frame (and report)

In this practical course, students will have a first contact with some of the most common conservation-restoration treatments for sculptural works on wood: fixing and stitching of pieces, volumetric reconstruction and chromatic reintegration.

COMPETENCIES: 1CE (G004, C3CC02), 4CE (G009, C3CC03), 5CE

LEARNING OUTCOMES: 1ST, 4TH, 5TH



Practical II. Gilding and decorative techniques (and report)

In this practical, the whole process necessary for gilding and polychroming a work of art with various decorative techniques will be carried out. Knowledge of the elaboration is essential for subsequent identification and intervention.

COMPETENCES: 1CE (G004, C3CC02), 5CE

LEARNING OUTCOMES: 1ST, 5TH



Practical III. Practical work on a real work (and report)

This practical will provide a first contact with some of the most frequent conservation-restoration treatments in sculptural works on wood: fixing and sewing of pieces, volumetric reconstruction and chromatic reintegration.

COMPETENCES: 1CE (G004, C3CC02, 2CE (G005, C3CC04), 3CE (G007, C3CC04), 4CE (G009, C3CC03)

LEARNING OUTCOMES: 1ST, 2ND, 3RD, 3RD, 4TH

An active methodology will be applied in the course, based on the teaching methods of seminars and workshops. Therefore, it is structured in theoretical lessons given by the teaching staff and practical tasks and activities to be carried out by the students (individually and in groups) through which the theoretical contents will be reinforced and expanded. As the subject is taught only one day a week, there will be two different sessions. The first session, from 8:30 to 9:30 in classroom-AA11, will be theoretical and will deal with basic theoretical aspects and case studies. In the second session, from 9:30-13:30 in workshop 0AB10, Sculpture Restoration Workshop, practical exercises will be carried out.

The teaching staff will upload to the e-gela platform the work and consultation materials: articles, links to web pages, bibliography and complementary resources, scripts of the practical activities and grades obtained. For their part, students will upload the written reports to be completed on the same platform; in this way, they will be able to receive feedback from the teaching staff on the aspects to be improved.

It will be compulsory to carry out the experimental practices that are carried out during class hours as well as to be punctual, to complete the full class hours (if there is no justification), to bring the necessary material to work and to hand in the assignments on time in order to pass the subject.

Tutorials will be complementary to solve and clarify any doubts and problems that may arise, as well as to correct and clarify the results of the exercises.

Likewise, the training outings that are carried out to complement the contents will be compulsory.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Written test to be taken (%): 20
  • Realization of Practical Work (exercises, cases or problems) (%): 40
  • Individual works (%): 20
  • Team projects (problem solving, project design)) (%): 20

The evaluation system will be continuous, to pass the subject it will be necessary to complete and approve all the activities.

The evaluation of the student's performance will be carried out by the teacher (heteroevaluation).

Among the conditions established to pass the subject are: passing the written exam and practical work, both individually and in teams.



Those tasks or activities that are not delivered within the established deadline will not be evaluated. Attendance is mandatory, as is punctuality, completing full class hours (if there is no justification) and bringing the necessary material to work. Those who do not attend at least 85% of the classes and therefore do not comply with the established evaluation system, will not be able to pass the subject in the ordinary session.

The introduction of parts of texts, graphics or images, whether from books, articles from scientific journals, theses, web pages, etc., literally as well as paraphrased or translated without being previously cited in the text and the source can be identified, is totally prohibited. from which they are obtained. The lack of rigor when referencing and plagiarism will lead to the failure of the work. To carry out the written exam, the use of technological resources (mobile phones, computers, etc.) is not permitted.

The positive grade obtained in the activities will be saved for the extraordinary call where the student will appear for that part that has a failure.





Resignation from the call.

To resign from the call, students will have to present the resignation in writing to the teacher responsible for the subject one month before the official exam date for the subject. In that case, it will appear as “not presented” and will not consume a call.



Renunciation of the evaluation system.

Students will have the right to be evaluated using the final evaluation system. To do so, you must submit your resignation to the continuous evaluation system in writing and you will have a period of 9 weeks to do so, counting from the beginning of the semester.

In that case, you must take a final theoretical-practical test that will consist of a written exam and a series of practical tests. The written test will evaluate all the contents taught and worked on in the subject and in the practical part you will be asked for evidence that reflects the achievement of the practical work proposed in class.

In this case:

_The written exam grade has a value of 50% of the final grade.

_Practical work is worth 50% of the final grade.

In the extraordinary call, the student will present the activities corresponding to the part that is failed.

To pass the subject it will be necessary to carry out and pass all the activities.

Students must have the basic materials and tools for personal use to carry out conservation-restoration work: scalpel, scalpel, tweezers, spatulas, brushes, cotton, cotton swab sticks, masking tape, mask and gloves.
The specifics to perform each practice will be detailed in their presentations.
Likewise, a computer will be necessary to be able to do the work as well as bibliographic searches. The use of the camera will be essential for photographic documentation of the practices.

Basic bibliography

• BARROS GARCÍA, J. (2005) M. Imágenes y sedimentos: La Limpieza en la Conservación del Patrimonio Pictórico. Valencia: Institució Alfons el Magnánim-Diputació de Valencia.

• GAÑÁN MEDINA, C. (1999) Técnicas y evolución de la imaginería polícroma en Sevilla. Sevilla: Publicaciones de la Universidad de Sevilla, Sevilla.

• GÓMEZ-MORENO, Mª E. (1943) La policromía en la escultura española. Madrid: E.A.O.A.

• RODRIGUÉZ BARREAL, J. A. (1998) Patología de la Madera. Madrid: Fundación Conde Del Valle de Salazar, Ediciones Mundi-Prensa.

• SÁNCHEZ-MESA, D. (1971) Técnica de la escultura policromada granadina. Granada: Universidad de Granada.

• VIVANCOS, V. (2007) La conservación y restauración de pintura de caballete. Pintura sobre tabla. Madrid: Tecnos.

• VV. AA. (1997) La talla. Escultura en madera. Barcelona: Parramón.

• VV.AA. (2001) El Retablo Mayor de la Catedral de Astorga. Historia y Restauración Salamanca: Fundación del Patrimonio Histórico de Castilla y León.

• VV.AA. (2006) Metodología para la Conservación de retablos de madera policromada. Junta de Andalucía, Consejería de Cultura/The Getty Conservation Institute.

• VV.AA. Estructuras y Sistemas Constructivos en Retablos: Estudios y Conservación. (2011) Actas de las Jornadas Fundacionales del Grupo de Trabajo del Retablos del Grupo Español IIC. Valencia: Instituto Valenciano de Conservación y Restauración de Bienes Culturales. 2011.

• VV.AA. (2017) Proyecto Coremans; Criterios de intervención en retablos y escultura policromada. Ministerio de educación, cultura y deporte. Madrid.

In-depth bibliography

• ALVAREZ, J.L. (1985). Estudios sobre el Patrimonio Histórico Español y la Ley de 25 de junio 1985 Ed. Civitas, S.A. Madrid
• BENOIST, L. (1971), Musées et museologie Presses Universitaires de France Vendome.
• BRANDI, C. (1963) Teoría de la Restauración. Roma
• BURGES, D. (1990) Chemical Science and Conservation. Macrillan Education, London
• HOURS, M. (1976) Analyse scientifique et conservation des peintures Ofice du Livre Fribourg policromada. Ministerio de educación, cultura y deporte. Madrid.

Journals

R&R Restauración y Rehabilitación Ed. UPV Valencia
AKOBE Restauración y Conservación de Bienes Culturales Ed. Zutabe Vitoria-Gasteiz
Actas de Congresos Conservación y Restauración de Bienes Culturales

Web addresses

https://blog.museunacional.cat/es/category/restauracion/
http://www.culturaydeporte.gob.es/cultura/areas/museos/mc/ceres/tesauros.html
https://www.ge-iic.com/
http://www.getty.edu/conservation/search/publications
http://www.iaph.es/web/
https://ipce.culturaydeporte.gob.es/conservacion-y-restauracion.html
http://ipce.mcu.es/difusion/publicaciones.html
http://www.luzrasante.com/
https://www.museodelprado.es/aprende/investigacion/estudios-y-restauraciones
https://www.museunacional.cat/es/abstraccion-cromatica-o-trattegio-creuat
http://ondarebilduma.gipuzkoakultura.net/
http://portal-restauracion-upv.blogspot.com/
http://victoriavivancos.blogspot.com/