Can you guess what's wrong with these paintings? - Noah Charney

Prevodilac: Milenka Okuka Lektor: Ivana Korom

These paintings are in peril.

Ove slike su u nevolji.

All three have been defaced,

Sve tri su oskrnavljene,

some in ways that are almost impossible to see with the naked eye.

neke na načine koje je gotovo nemoguće primetiti golim okom.

Can you guess how they've been altered?

Možete li da pogodite kako su izmenjene?

You might be surprised.

Možda biste se iznenadili.

When a museum curator inspected this portrait,

Kada je kustos muzeja pregledao ovaj portret,

attributed to the 16th century Italian painter Bronzino,

koji se pripisuje Broncinu, italijanskom slikaru iz XVI veka,

they suspected it was a modern fake.

pretpostavljali su da se radi o savremenom falsifikatu.

However, closely examining the cracks on its surface,

Međutim, podrobno ispitavši pukotine na njegovoj površini,

an art conservator discovered that it was from that era—

konzervator slika je otkrio da je iz datog razdoblja -

It had just undergone drastic changes in recent centuries.

prosto je pretrpeo drastične promene u skorijim vekovima.

Using x-ray technology, they peered under the outer surface of paint

Upotrebom rendgena, zavirili su ispod površinske boje

and saw the countenance of a completely different woman.

i spazili lik potpuno druge žene.

Essential parts of the painting had been modified

Ključni delovi slike su izmenjeni

during a 19th century restoration.

tokom restauracije iz XIX veka.

Prior to the mid-20th century,

Pre sredine XX veka,

art restorers took a more heavy-handed approach,

restauratori umetnina su imali agresivniji pristup,

often believing they were improving art.

često verujući da unapređuju umetnost.

Nowadays, they focus on keeping the original work intact

Danas se fokusiraju na održavanje originalnog dela netaknutim

with minimal intervention.

sa minimalnim intervencijama.

When they need to fix something up,

Kada moraju da nešto poprave,

they usually make their markings visually and chemically distinct from the original,

obično svoje tragove čine vizuelno i hemijski različitim od originala

so they can be harmlessly removed.

kako bi mogli da se lako uklone.

But the work of past restorers is a threat they regularly contend with—

Rad pak prethodnih restauratora je pretnja s kojom redovno moraju da izlaze na kraj -

as was the case with this portrait.

kao što je bio slučaj s ovim portretom.

To recover the original,

Kako bi obnovili original,

the conservator began removing the outer varnish coat.

konzervatori su počeli da uklanjaju sloj površinskog laka.

Varnish is commonly used to protect paintings from debris

Lak se često koristi radi zaštite slika od čestica prašine

and make their colors pop.

i zbog isticanja boje.

But the natural varnishes past restorers applied eventually darkened,

Prirodni lakovi koje su nanosili prošli restauratori su vremenom potamneli,

which is what gives older paintings that aged, yellowy look.

a upravo to starim slikama daje zreli, žućkasti izgled.

Slowly dissolving the varnish,

Polako razgrađujući lak,

the conservator uncovered crisp colors below.

konzervatori su ispod otkrili živahne boje.

Taking small samples from the added and original paint layers,

Uzimajući male uzorke dodatih i originalnih slojeva boje,

they analyzed the compositions of each.

analizirali su njihov pojedinačni sastav.

Then, they decided which solvents could dissolve the overpainting

Potom su odlučili koji razređivači mogu da rastvore dodate boje,

while minimally affecting the original.

istovremeno minimalno utičući na original.

Carefully dabbing the canvas with them,

Pažljivo natapajući platno njima,

they removed the overpainting’s dainty hands and idealized face.

uklonili su nežne ruke i idealizovano lice površinske slike.

The true painting underneath revealed Isabella of the Italian Medici dynasty.

Istinska slika ispod je otkrila Izabelu iz italijanske dinastije Mediči.

The portrait isn’t Bronzino’s,

Portret nije Broncinov,

but it is from around 1570, and may have been painted

ali potiče iz oko 1570. godine i možda ga je naslikao

by one of his students.

jedan od njegovih učenika.

Its Victorian makeover was likely done to boost sales

Viktorijansko ulepšavanje je verovatno urađeno radi pospešivanja prodaje

because the original subject wasn’t considered attractive.

jer prvobitno lice nije smatrano privlačnim.

But now, Isabella is back, meeting her viewer’s gaze directly.

Međutim, sada se Izabela vratila, gledajući posmatrača pravo u oči.

This painting, “An Allegory with Venus and Cupid,”

Ova slika: „Alegorija Venerine pobede”,

is actually Bronzino’s, and it was completed around 1545.

zapravo jeste Broncinova i završena je oko 1545.

It centers on a kiss between Venus and her son Cupid–

U središtu slike je poljubac između Venere i njenog sina Kupidona -

but it’s been subtly altered.

ali suptilno je izmenjena.

When London’s National Gallery acquired it in 1860,

Kada ju je 1860. godine nabavila Londonska nacionalna galerija,

the Gallery’s director deemed it too risqué for Victorian England.

direktor Galerije je ocenio da je suviše skaradna za viktorijansku Englesku.

So, he commissioned a restorer to obscure Venus’s tongue and nipple.

Pa je unajmio restauratora da prikrije Venerin jezik i bradavicu.

A century after this modification,

Vek nakon ove izmene,

art conservators analyzed and removed the overpainting with select solvents.

konzervatori slika su analizirali i uklonili dodate boje

izabranim rastvarivačima.

In the process, they also realized that the veil covering Venus’s crotch

Tokom procesa su takođe shvatili da su veo koji prekriva Venerine prepone

and the branch hiding Cupid’s posterior were other add-ons.

i grančica koja skriva Kupidonovu zadnjicu dodatni umeci.

Removing two layers of censorship from the painting,

Uklonivši dva sloja cenzure sa slike,

it was finally free to boast its provocative original details.

konačno su je oslobodili da se razmeće svojim provokativnim prvobitnim detaljima.

This massive painting called “The Night Watch”

Ovu ogromnu sliku naslovljenu „Noćna straža”

was completed by Rembrandt in 1642.

je naslikao Rembrant 1642.

Since then, it’s endured one dramatic amputation, two stabbings,

Od tada je istrpela jednu drastičnu amputaciju, dva ubadanja,

an acid attack, and centuries of grime.

napad kiselinom i vekove prljavštine.

A museum guard immediately neutralized the acid with water.

Stražar muzeja je istog trena neutralisao kiselinu vodom.

Restorers lifted the grime,

Restauratori su uklonili prljavštinu,

revealing that the painting was not set at night,

otkrivajući da se radnja slike ne dešava tokom noći,

and healed the slashes using adhesive and extra canvas backing.

a proreze su zacelili upotrebom lepka i potporom dodatnog platna.

But they faced an even trickier problem.

Međutim, suočili su se sa još komplikovanijim problemom.

In 1715, strips were removed from all sides of the canvas,

Godine 1715, uklonjene su trake sa svih strana platna,

including two whole feet from the left, to fit it inside Amsterdam’s Town Hall.

uključujući čitava dva stopala s leva kako bi slika stala

u amsterdamsku gradsku skupštinu.

They've been lost ever since.

Od tad im se gubi trag.

But a multi-year conservation project

Međutim, višegodišnji konzervatorski projekat

that began in 2019 replaced the missing pieces.

koji je započet 2019. je zamenio nedostajuće delove.

They managed this by training an artificial intelligence

Ovo su postigli obučavajući veštačku inteligenciju

to digitally paint in Rembrandt’s style.

da digitalno slika Rembrantovim stilom.

Then, using another artist’s rendering of the original,

Potom, koristeći verziju originala drugog slikara,

the program recreated and printed the painting’s lost sections.

program je nanovo izradio i odštampao nedostajuće delove slike.

Finally, the team returned “The Night Watch” to its full size,

Konačno je ekipa vratila „Noćnoj straži” punu veličinu,

with AI-generated best guesses to fill in the blanks.

upotrebom najboljih pretpostavki VI kojima su popunjene praznine.

All of these paintings had been altered, but none of them were irrevocably ruined.

Sve ove slike su bile izmenjene, no nijedna nije bila nepovratno uništena.

With painstaking scientific analysis and technical skill,

Mukotrpnom naučnom analizom i tehničkim veštinama,

art conservators immortalize priceless artifacts.

konzervatori slika ovekovečuju dragocene artefakte.

They counteract sudden damage and creeping threats—

Suprotstavljaju se iznenadnim oštećenjima i vrebajućim opasnostima -

and sometimes, they perform near miracles.

a ponekad gotovo da izvode čuda.

This video was made possible with support from Marriott Hotels.

Ovaj video su omogućili Hoteli Meriot.

With over 590 hotels and resorts across the globe,

Sa preko 590 hotela i rizorta širom sveta,

Marriott Hotels celebrates the curiosity that propels us to travel.

Hoteli Meriot slave znatiželju koja nas navodi da putujemo.

Check out some of the exciting ways TED-Ed and Marriott are working together

Otkrijte neke od uzbudljivih načina na koje TED-Ed i Meriot sarađuju

and book your next journey at Marriott Hotels.

i zakažite sledeće putovanje u Hotelima Meriot.