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the incident forced the staff and management of the gallery to experience a real shock, but not paralyzed the work of the Museum. It has taken emergency measures to rescue the paintings executed necessary procedures for investigation, and a preliminary analysis condition pattern for determining follow-up actions to ensure the restoration work.
the Tretyakov gallery under the direction of Zelfira Tregulova has started to follow the principles of openness, and this sad case is no exception. On the first working day after the attack, the media has provided all the necessary information, and then gave a press conference. It turned out that the vandalism many people outside of the Museum was perceived as a personal pain.
In the past since the tragedy a month a lot of work. Almost immediately following the emergency works, the painting was placed in the restoration workshop of the gallery on the table under a specially made protective box, to ensure safe and stable storage of the canvas. The author's frame moldings which is a fair amount of damage, moved to the workshop of restoration of frames. Started consultations of experts of the Museum, careful inspections, the analysis of the restoration history of the paintings with reference to archival materials.
Already carried out restoration Council approved the first phase of conservation activities that will begin the stage of research works. Her colleagues Tretyakov neglects: they actively conducted consultations on several issues.
Now the latest news today. Strikes on the painting has resulted in hidden damage and provoked the problems associated with known since ancient times, the "chronic disease" picture, the weak — link painting with the soil and the constant threat of the formation of talus paint layer.
for Many decades the painting was under the special supervision of restorers. However, several generations of restorers of the gallery refrained from radical treatment "disease" because of the complexity of the task, lack of appropriate technologies and tools. Periodically held only the point of strengthening the paint layer. Was developed and implemented a special mode of existence of the picture in the Museum — storage-exposure in one place, a complete ban on any movement and the constant presence of the paintings under glass to protect against temperature and humidity fluctuations.
Now the specialists of the Museum have a challenging task — to restore not only the damage done by the vandal, but also in a new phase of technology development globally to solve the problems of the state of the track, having cured him of the old "disease" and ensuring its preservation for future generations.
the Large size of the picture, features a layered painting techniques Repin, complicated history of the work — all it defines is unique in its complexity the challenge of the upcoming restoration. As required by current standards in the Museum world and in the field of conservation of cultural heritage, development of the restoration programme is accompanied by a number of conditions. So for the past since the attack period in the Museum was working on drawing up a research plan designed to gather the most detailed material about the technology of paintings restoration.
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