Etude et conservation-restauration d'un costume de danse dessiné par Natalia Gontcharova à l'époque des ballets russes (vers 1920 ; Paris, Musée des arts décoratifs) : évaluation de la photosensibilité des soies peintes

This thesis is dedicated to the study and the conservation of a dance costume which was stored in the MAD collections. This rigid costume seems to have been designed for the French dancer Caryathis in 1921. It closely looks like a model designed in 1916 by the Russian avant-garde artist Natalia Gontcharova. The costume was originally created to be used for a Spanish-inspired ballet by Diaghilev. This ballet followed the style of the theatrical revolution initiated by the Diaghilev Ballet Company of Russia, featuring avant-garde art movement on stage. The ballet itself never took place in public. This costume is composed of six large pieces and required major interventions. Therefore it was decided that only three of the elements would be restored : the dress, the wings and the headdress. The three pieces owe their rigid form to metal reinforcements. The technique used indicates the degree of skill possessed by the theatrical costumers and the fabric is embellished with decorations applied to the silk satin surfaces with paint. The technical and scientific part of this work is aimed at evaluating the photosensitivity of these painted surfaces. The scientific study revealed the high photosensitivity of dyes, by using a microfading test carried out directly on the fabric. This costume was designed to be used on a temporary basis and the use of long-lasting materials in its production was not considered necessary. Many alterations have been caused by the fragile nature of the fabric and the fact that the costume has been worn. In particular, there are signs of wear on the silk satin and even in some areas the presence of holes. Deformation of the metal reinforcements, due to unsuitable handling and conditioning has resulted in the deformation of the textiles. The three pieces of the costume have consequently required the straightening of the metal frames and textiles. A considerable amount of stitching work was also needed in order to stabilize the silk satin fabric. As a result, the operations of conservation-restoration aim to stabilize the state of the Monument and allow it to find its place in the public space through interventions on the structure and surface of the Monument.