Dossier de mis trabajos en conservación y restauración y pintura. Diseñado por Virginia Lázaro Villa http://virginialazarovilla.blogspot.com.es/

2. CV
EDUCATION
2012 – current
Course of expert in Art valuation. IArt
2011-2012 Iniciation in Museology. University of Alcalá (UAH)
2009-2010 Master in conservation of Cultural Heritage. Specialization in Conservation
of Wall Painting
2004-2009 Degree in Art. Specializacion in Conservation of Paintings
INTERNSHIPS
Summer 2008 – Volunteer at an archeological excavation. Consolidation of wall painted
rests, consolidation of building structures, reposition of detached mosaics.
Volunteering and other experiences
2011 Volunteer at COMRADE (NGO)
2007-2009 Member of the University Senate at UCM
2007-2009 Student’s representative at Fine Arts Faculty, UCM
OTHER COURSES
2011 New methodologies for support treatment in canvas painting. Erminio Signorini. UCM.
2011 Photography for documentation of artistic works. ECRA Arte
2011 The restoration process of Adam and Eve, Dürer. Museo del Prado
2009-2011 GE-IIC annual meetings in Conservation of Contemporary Art. MNCARS
2009 The potencial of the cultural sector on the current economic framework. UCM
Summer Courses
2009 Conservation and restoration. Problems and solutions for the unusual. Selgas-
Fagalde Foundation.
2009 Models & Amazons. Feminine Universe across the 20th century. MAPFRE Foundation.
LANGUAGES AND VARIOUS
TECHNICAL SKILLS:
Microsoft word, powerpoint, advanced level.
Microsoft access and Microsoft Excel: basic level.
Digital photography.
LANGUAGES
English. TOEFL ibT: 104/120
Italian (learning) A2 level
Drive license

3. PRACTICES
During my studies in conservation of restoration I’ve had the opportunity of collaborating in
some conservation processes. Here are the most relevant relevant information about them.

4. Oil on canvas Conservation and restoration processes
View of Saint Martin’s bridge
(Toledo, Spain) Anonymous.
Cleaning of the support
The painting presented several Pic. 3 Acummulation of dust
damages such as: canvas oxidation,
holes, deformations caused by the
stretcher, paint losses, old patches Elimination of old patches and
fixed with strong synthetic glue, substitution with new ones.
marked varnish aging. Pic. 4, 5 New patches
3 Pic. 6 Old patch
4 5
Protecting the painting before starting the intervention 6

5. Panel Painting
Saint Mathew calming the dragons.
Attributed to Pedro Bello. S. XVI.
This was part of a series of panels which
illustrated moments of Saint Mathew’s
1 2
life. It seems that they were painted by
some disciples of Fernando Gallego. The
Lining of the canvas. Pic. 1 paintings were in bad conditions and
Pic 2. The painting with new support, reatached to presented several and very invasive old
the original stretcher restorations. This painting presented
Old varnish removal. Chemical cleaning. support damages such as cracks, nails
Pic 4. Discovering colours under the yellowed oxidation, an old and extremely invasive
varnish intervention on the painting layers,
painting losses, flacking, different types
Lacune filling and inpainting of the of cracking, insect damage, etc.
losses. Pic. 3
Application of a new protective coat. 3
4 Three ways of lokking at the painting: grazing light, visible light and ultraviolet light.

6. The conservation and
restoration processes:
1 Support
Pic. 1 General view of the support,
made of two panels
Elimination of old, not original
and small adds on the support.
Consolidation of original tows
Elimination of insects. Pic 2
Filling of splits with small wood
pieces and consolidant.
Pic. 3 filling with small wooden pieces
1
Painted surface
Protection of the parts damaged
2 3
with flacking.
Elimination of retouches and
varnish flattering.
Pic. 4 removing old retouches
Elimination of nail oxidation and
further protection of these
metallic elements.
Flacking reduction and consolida-
tion of the painted surface.
Pic. 6 Cleaning discovers actual damages

7. Filling of ground losses. Pic. 1
WALL PAINTING
Detached tempera over mortar from a
Inpainting and application of a new protective vaulted niche ( 1st, XV-XVI)(2nd XVI-XVII).
layer would be done by the next year class. Unknown authors.
Paintings came from a church sited in El
Atance, Guadalajara, Spain. They were de-
tached in the ‘90s because of the future dis-
mantle of the building for its reconstruction
in a new location. There were four parts:
the two sides of the niche, the front and the
vault. I worked in one of the sides. When
the team detached the paintings, they dis-
covered that the transferred pieces had
painting for both sides, because there was
a previous XV-XVI century painting that was
covered by a XVI-XVII century one. They had
the idea of creating a transparent structure
that allowed the exhibition of both sides
of the paintings. The whole process took
around seventeen years and had several pe-
riods of “stand by”. The procedures were
complicated because it was necessary to work on both sides of the detachments. In
the case of the vault detatchment, a structure was built for its safe manipulation [foto
structure] Several operations were done on the paintings, and some of them had to be
removed because they were done in a rush to detach paintings on time. I participated
in the last stage of the whole process which was the consolidation of transferred stacco
paintings and construction of a supporting structure for further exhibition. I worked on
one side of the painting.
General view of the detachment of the font.
supporting structure for manipulation of
detachment of the vault
a view of the detachment of one of the sides.

8. 1
6
3 2
I worked on one side of the painting: Inpainting of losses. Pic. 6
Elimination of the old facing for further
consolidation and reposition of losses Fixation of the paint layer.
with mortar.
Consolidation of the detachement. Pic. 7
Application of an intervention layer. Pic. 8
Pic. 1 Detail of the detachment of the
4 front side of the vault niche
Pic. 2 old facing removing
Pic. 3 aplication of new mortar
Pic. 4 Using impacchi for defacing
Pic. 5 Using hot air to melt the consoli -
dant in the defacing process
5 7 8

9. OTHER PROCESSESS
MURAL PAINTING
Essays with nano-particle consolidats
Essays with water based gels for surface
cleaning
Essays of strappo detachment of differ-
ent painting techniques
CANVAS PAINTING
Essays with new consolidants and uses
of suction table
Essays of micro suture and threads grafting
New methodologies for lining canvas (minimum intervention techniques by CESMAR7)
Pic. 1
Correction of deformations and tears (minimum intervention techniques by CESMAR7)
Pic. 2
Application of a new trans-
parent suppor t made of
fiberglass and resin.
pic 2 transparency of new support
Building of the structure that
would hold the paintings
and would allow them to
be visible on both sides. (the
year after) 2
PRELIMINARY TESTS
Photographic documentation (including microphotography)
UV analysis, infrared reflectography, interpretation of stratigraphic analysis, etc.

10. THEORY OF CONSERVATION
Master’s final project: Historical evolution of authenticity as a term used in conservation
and restoration. Analysis of texts across the 20th century
ABSTRACT
The word authenticity has been recurrent in both conservation theory and legislation.
Is its meaning clear? Is there a unique application of the term? Which is the purpose
behind its use? Nowadays the debate about authenticity is open. Thus, a historical
study about its use and purpose will help us to obtain a deeper understanding of the
evolution of its meaning, from its first use in the early charters to present-day. The
methodology will consist of a critical revision, chronologically ordered, of the most
relevant official charters delivered by the international institutions which controL the
conservation of heritage, from Athens Charter or Venice Charter to Interamerican
symposium ICOMOS on authenticity.
From the conclusion, we will be able to infer several uses of the term authenticity, the
causes of its application and the evolution that the word had experienced along the
20th Century, as well as whether the term is still open to debate in the first decade of
the 21st Century.