The sculptor Ivan Zajec was inspired by the Antiquity throughout his
career, especially after his sojourn in Rome and after his final return to
Ljubljana in the 1920s. The sculpture Athlete
with a Strigil might represent a “frozen” moment in an unspecified
competition.
Ivan Zajec's sculptural body of work is large and rich
both in content and technology. Among the 362 recorded works, we can find
pieces in stone, bronze, clay and plaster. Zajec used the latter to create
templates for larger monumental works, but he often used plaster as a
foundation for elaborate independent works of art. Such is the case of the
sculpture Athlete with a Strigil.
The National Gallery of Slovenia acquired the work for
its collection in 1971. Its condition at that time went unrecorded, but it can
be assumed that the statue was already badly damaged. This was mainly due to
inadequate storage conditions and careless handling. The plaster support had
degraded due to excessive humidity. Exposure to moisture caused oxidation of
the internal metal structure, which led to cracking of the support. The most
noticeable damage was to the left arm, which was broken at the shoulder and
later attached to the thigh of the figure. The base of the statue was also
badly damaged, with one of the sides missing completely, which also threatened
the static stability of the whole. The athlete also suffered minor mechanical
abrasions on the support, which, in addition to the yellowing of the outer
layer, altered the appearance of the statue. The statue was completely covered
by a dark layer of dirt, which, in addition to other stains, posed a challenge
for a proper aesthetic presentation.
The conservation-restoration intervention consisted of
a series of procedures based on modern principles, which have only recently
become an established practice in the treatment of plaster sculpture. It raised
many questions which were addressed directly during the procedures in
cooperation with art historians.
A closer examination of the work and its condition
after the dismantling of the broken arm provided valuable information about the
original position of the outstretched left arm. The two matching contact
surfaces were glued together with a reversible adhesive and the missing area
was moulded with a modelling compound that has similar mechanical properties to
the original, but differs from it in chemical composition. This was done to
keep the added material recognisable and reversible. The static stability of
the sculpture was achieved by applying a thin layer of stronger material. The
protective film between the contact of the original part of the base and the
addition is removable, in line with the conservation practice. Surface
impurities were removed through a selective use of various dry and wet cleaning
methods. Colour reintegration was applied with different techniques, depending
on the size and visibility of the retouching area, since the proper execution
of the reconstruction is based on reliable data.
The restoration of the statue's original appearance and a more uniform
aesthetic presentation secured the work a place in the retrospective exhibition
of Ivan Zajec, while a stable and safe storage environment will ensure it
remains in suitable condition for posterity.
Authors
Matevž Sterle, Mateja Breščak
Presented: Thursday,
4 January 2024, 6 p.m.
4 January – 31 January 2024
National Gallery of Slovenia
Prešernova 24
1000 Ljubljana