Múzeumi műtárgyvédelem 5., 1978 (Múzeumi Restaurátor És Módszertani Központ)
Entz Géza: A restaurálás mestersége és művészete
Art and craft of restoring The qualitatively and quantitatively significant proportion of our people’s past’s relics is guarded in our museums. Besides works of fine arts many important relics of rural and urban craftsmanship have become parts of public collections. Many of them has not only a historical value but represents a high artistic standard too. Men's, women's and children’s clothing made in manor houses; jewels, utensils, clothing, me tal objects and arms manufactured by goldsmiths, joiners, locksmiths, blacksmiths, furriers, tailors, tanners, potters and bootmakers of town guilds; utensil made with instinctic sense of beauty by peasant craftsmen speak of centuries’ culture and the artistic taste and demand of all strata of the Hungarian people. Nevertheless these values are endangered in many ways, which may lead to smaller or greater harms, or destruction. Time is one of their greatest enemy besides negli - gence and carelessness. Hungarian museology is almost two centuries old. A great many of objects have become parts of public collections during this time, and the flood of objects is still coming in. Increasing care must be taken of preserving objects besides collecting and keeping museal values. The often rapidly deteroating condition of these objects has become demanding the long range developement of conservation and restoration as one of the most important task of up to date museum work. Though this recognition is as old as our museums, the practical realisation was only given a start by the socialist cultural politics. The systematic education of restorers has already begun in the fifties, mainly within the scope of the museums. The modern education of painting restorers started at the Department of Restoration of the High School of Fine Arts. Nevertheless it became evident, that besides mainting and sculpturing the higher education of restorers dealing with other objects of arts can not be neglected. The cause of higher education of general museum restorers was handed over to the High School of Fine Arts in 1974. The higher education of the leading museum restorers started with the backing of the Ministry of Culture and the organisation of the museums. The result can be seen on this exhibition of the diploma works of the first class graduating in 1978. The graduating students not only restored the objects of arts of great value in their original beauty, but widely used the modern scientific, artistic and technical methods too. The exhibition prooves the success of the new initiative and the necessity of preceeding. /See j _ 1__3i/ ENTZ. Géza 9
