About my Education & Certification Specialist degree Orthodox St. Tikhon Humanitarian University (Moscow) • graduated from Restoration Department of the Faculty of Ecclesiastical Arts • trained by the highest category restorer S.V. Sverdlova (a restorer in the Tretyakov Gallery) • internships in several museums in Moscow Ministry of Culture of the Russian Federation (Moscow) certified as a restorer of tempera painting of the 3rd category restorer of oil painting of the 3rd category |
Professional experience Restorer of tempera paintings and wooden polychrome sculpture The Central Andrey Rublev Museum of Ancient Russian Culture and Art (Moscow) •restored a number of ancient icons, including those that are very difficult ones for restoration • by the decision of the museum's management, in addition to the restoration of icons, I was entrusted with the restoration of wooden polychrome sculptures of the museum's collection • worked in the examination department (the tasks in this field were to research the authenticity of icons, identify late additions and renovations) • participated in business trips to accompany icons during the movement of exhibitions, both internationally and within Russia • read public lectures at the museum Restorer of oil and tempera paintings Art Palace of Georgia (Tbilisi) Conservation and restoration of oil paintings, preparing art objects for exhibitions lecturer Moscow State Academic Art Institute named after V. I. Surikov at the Russian Academy of Arts (Moscow) • lecturer of museology • second teacher in the workshop of icons restoration |
andrei nazarenko
The art objects I have worked on
Since 2010, I have completed the restoration of more than 60 art objects
I would like to show the most interesting cases
I would like to show the most interesting cases
HOLY PRINCES THEODORE, DAVID AND
CONSTANTINE, BASIL AND CONSTANTINE
OF YAROSLAVL(Late 18th – early 19th centuries. Made in Yaroslavl)
CONSTANTINE, BASIL AND CONSTANTINE
OF YAROSLAVL(Late 18th – early 19th centuries. Made in Yaroslavl)
Tempera on wood. 72.5 × 66.5 cm. Acquired from the National Art Factory named after Y.V. Vuchetich in 1981
The icon was restored in 2015. The lower part had small peeling of the left casa with a colorful layer. The author's painting is on-walked under a dense, strongly darkened, and shriveled coating. During the restoration process, the leftcas with a colorful layer and a large flake is glued wood on the right field. In the process of disclosure icon, a record was found on the background, delete which was the most difficult due to the thinness of the author's paint layer.
After layer-by-layer coating removal and recording in places of loss, gesso was brought up, completed tinted, and applied protective coating.
The icon was restored in 2015. The lower part had small peeling of the left casa with a colorful layer. The author's painting is on-walked under a dense, strongly darkened, and shriveled coating. During the restoration process, the leftcas with a colorful layer and a large flake is glued wood on the right field. In the process of disclosure icon, a record was found on the background, delete which was the most difficult due to the thinness of the author's paint layer.
After layer-by-layer coating removal and recording in places of loss, gesso was brought up, completed tinted, and applied protective coating.
Portrait of the Grand Duchess Maria Feodorovna
80th of the XVIII century Rokotov(?) State Historical Museum
80th of the XVIII century Rokotov(?) State Historical Museum
Oil on canvas. The painting "Portrait of Grand Duchess Maria Feodorovna" was received for restoration from the collection of fine materials of the State Historical Museum in 2015. From the catalog data about the monument, the time of creation is known - the 80s of the 18th century. According to information from the Fine Arts State Museum employees, the painting came to the museum in 1931 from the Moscow Ancient repository.
The painting was submitted for restoration in 2015 in a state of disrepair. The canvas lost its elasticity, deformed, and sagged on the stretcher, and its upper part ended with a renovating canvas extension. The subframe needed to be replaced due to the lack of a crossbar and severe damage to the corners of the subframe with blades. The soil is lost along the edges. The paint layer on the image of the figure is worn. The author's coating has been preserved in fragments, and the upper layers of the painting have been partially washed away.
On the back of the painting, in the upper part of the canvas, a cartouche with the inscription "Rocotof" is painstakingly drawn in ink or ink.
A full range of restoration work was carried out, during which the primer and the paint layer were strengthened, the deformations of the canvas were eliminated, the mastic along the seam and the renovating extension of the canvas were removed, as well as the copybook lying in the loss of the primer with the paint layer, the painting was duplicated, restoration primer was added in the losses. Surface contamination was removed from the painting, the coating was refined and evened out, the prescriptions on the image of the face, neck, hairstyle, and background were cleared and in some places refined, a protective restoration coating was applied, tinting was done in areas where the paint layer was lost.
The painting was submitted for restoration in 2015 in a state of disrepair. The canvas lost its elasticity, deformed, and sagged on the stretcher, and its upper part ended with a renovating canvas extension. The subframe needed to be replaced due to the lack of a crossbar and severe damage to the corners of the subframe with blades. The soil is lost along the edges. The paint layer on the image of the figure is worn. The author's coating has been preserved in fragments, and the upper layers of the painting have been partially washed away.
On the back of the painting, in the upper part of the canvas, a cartouche with the inscription "Rocotof" is painstakingly drawn in ink or ink.
A full range of restoration work was carried out, during which the primer and the paint layer were strengthened, the deformations of the canvas were eliminated, the mastic along the seam and the renovating extension of the canvas were removed, as well as the copybook lying in the loss of the primer with the paint layer, the painting was duplicated, restoration primer was added in the losses. Surface contamination was removed from the painting, the coating was refined and evened out, the prescriptions on the image of the face, neck, hairstyle, and background were cleared and in some places refined, a protective restoration coating was applied, tinting was done in areas where the paint layer was lost.
GREAT MARTYR PARASKEVI OF ICONIUM
(Late 17th–early 18th century)
(Late 17th–early 18th century)
Wood, carving, gesso, tempera 84 × 41 × 10 cm. The sculpture was submitted for restoration in 2019. There were significant losses of carved elements, numerous inserts of soil over the entire surface, large loss of gesso with a colorful layer. A visual examination of the monument under a microscope showed that all the author's writing, except for the left hand, is under the continuous layer of modern recording.
At various sites, the sculptures were made trial openings for the removal of the record, the absence of the author's cover layer was found everywhere, the image of the clothes showed the good preservation of the author's painting, and the image of the board and the face - considerable damage and loss.
Disclosure of the author's layer of paint from a rough recording was performed under a binocular microscope on inserts and temporarily left a refurbished color scheme. After a time task of the extended Restoration Council late, the paint layer is removed from the entire sculpture surface, including the face. Also removed are major update inserts with a poor connection with the base; the rest are refined.
At various sites, the sculptures were made trial openings for the removal of the record, the absence of the author's cover layer was found everywhere, the image of the clothes showed the good preservation of the author's painting, and the image of the board and the face - considerable damage and loss.
Disclosure of the author's layer of paint from a rough recording was performed under a binocular microscope on inserts and temporarily left a refurbished color scheme. After a time task of the extended Restoration Council late, the paint layer is removed from the entire sculpture surface, including the face. Also removed are major update inserts with a poor connection with the base; the rest are refined.
NINE MARTYRS OF CYZICUS, HEALING OF THE DEMONIAC, VISION OF SAINT SISINNIUS (Late 18th–early 19th century)
Wood, gesso, tempera 72 × 56 cm. The icon entered the workshop in 2017. It had swellings and raised edges of gesso along the craquelure mesh. The ink layer was under an uneven and heavily discolored finish. At the bottom of the icon, late levkas chinks were observed.
The gesso and the paint layer were strengthened during the restoration work's beginning. The coating is thinned and evened out. Particular difficulty at this stage was the work in areas with gilding. The main task was preserving a thin layer of coating on these areas. The results were performed under a binocular microscope.
After removing the renovation inserts, significant damage to the base by the grinder beetle was discovered.
The loss of wood has been replenished. In the losses, restoration gesso was added, tinting was done, and a protective coating was applied.
The gesso and the paint layer were strengthened during the restoration work's beginning. The coating is thinned and evened out. Particular difficulty at this stage was the work in areas with gilding. The main task was preserving a thin layer of coating on these areas. The results were performed under a binocular microscope.
After removing the renovation inserts, significant damage to the base by the grinder beetle was discovered.
The loss of wood has been replenished. In the losses, restoration gesso was added, tinting was done, and a protective coating was applied.
Saint Macarius of Zheltovodsky (19th century)
The icon entered the Department of Restoration of PSTGU from the State Historical Museum in 2009. The size of the board is 31.2 x 26.2 cm. The painting is made in the egg tempera technique using molten gold.
When it arrived for restoration, the icon was in disrepair. During the restoration, the gesso and the paint layer were strengthened, surface contamination was removed, and the loss of wood was replenished, the coating was removed in layers, the loss of gesso was replenished, a picturesque restoration was carried out, and a protective coating was applied.
When it arrived for restoration, the icon was in disrepair. During the restoration, the gesso and the paint layer were strengthened, surface contamination was removed, and the loss of wood was replenished, the coating was removed in layers, the loss of gesso was replenished, a picturesque restoration was carried out, and a protective coating was applied.
Annuciation (19th century)
The icon "Annunciation" entered the Department of Restoration of PSTGU from the home museum of Marina Tsvetaeva in 2014. The painting is made in the egg tempera technique.
Before restoration, the following damage was present on the icon. In the upper part of the icon, there is a thorough nail hole; in the lower part, there is a large loss of gesso to the base, a partial loss of gesso, and the paint layer around the perimeter—a significant loss of the paint layer on the image of halos. The integumentary layer is darkened and heavily polluted.
During the restoration, surface contamination was removed, and the wood loss was replenished. The coating was removed, the loss of gesso was replenished, a picturesque restoration was carried out, and a protective coating was applied.
Before restoration, the following damage was present on the icon. In the upper part of the icon, there is a thorough nail hole; in the lower part, there is a large loss of gesso to the base, a partial loss of gesso, and the paint layer around the perimeter—a significant loss of the paint layer on the image of halos. The integumentary layer is darkened and heavily polluted.
During the restoration, surface contamination was removed, and the wood loss was replenished. The coating was removed, the loss of gesso was replenished, a picturesque restoration was carried out, and a protective coating was applied.
Saint Agatha (1870)
The painting, with a half-length depiction of a young woman, was received for restoration from the Marina Tsvetaeva Home Museum in 2013. From the catalog data about the monument, we learn the name of the painting "Lucretia" by E.P. Efron (Durnovo) and the year of creation 1870.
The name "Lucretia" was given to the painting erroneously since it is a copy of Francesco Guarino's painting "Saint Agatha," the original is in the Capodimonte Gallery in Naples.
The name "Lucretia" was given to the painting erroneously since it is a copy of Francesco Guarino's painting "Saint Agatha," the original is in the Capodimonte Gallery in Naples.
Contact me:
+995 599 355 782
nazarenkoandreiy@gmail.com
nazarenkoandreiy@gmail.com
Tbilisi, Georgia
