- Art Conservation, Painting Conservation, Materials Science, Heritage Conservation, Cultural Heritage Conservation, Restauration and Conservation, and 16 moreHistory of Conservation and Restoration, Preventive conservation, Science for Conservation and Restoration of Cultural Heritage, Museum Studies, Heritage Studies, Museologia, Museografia, Museology, Cultural Heritage, Conservación y Restauración, Teorías de la conservación y restauración, Conservation of Easel Paintings, Conservation of wall paintings, Heritage and Conservation, Conservation of Cultural Heritage, and Theory of conservationedit
in «Kermes / La Rivista del Restauro», Firenze, XXVI [(2013), ma pubblicato 2014], 91, pp. 47-64 (in collaborazione con M.Beatrice De Ruggieri, Marco Cardinali, Gulia Silvia Ghia, Antonio Iaccarino Idelson, Carlo Serino).
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... Conservation Information Network (BCIN). Author: Borghese, Paola; Ferriani, Barbara; Campani, Elisa; Casoli, Antonella; Iaccarino Idelson, Antonio; Serino, Carlo; Testa, Giovanni Title Article/Chapter: "Guardare ma non... more
... Conservation Information Network (BCIN). Author: Borghese, Paola; Ferriani, Barbara; Campani, Elisa; Casoli, Antonella; Iaccarino Idelson, Antonio; Serino, Carlo; Testa, Giovanni Title Article/Chapter: "Guardare ma non toccare. Il Pastello bianco di Giovanni Boldini. ...
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The mechanical aspects of canvas painting conservation and the study of the effects of conservation treatments benefit greatly from quantifying the mechanical characteristics of the materials. However, this is seldom possible as only few... more
The mechanical aspects of canvas painting conservation and the study of the effects of conservation treatments benefit greatly from quantifying the mechanical characteristics of the materials. However, this is seldom possible as only few labs have the necessary equipment. This paper presents the development of a biaxial tester to be used for samples of canvas paintings which exhibit orthotropic behavior under biaxial loads. The machine was built as the first step of ongoing Ph.D. research on the mechanics of canvas paintings. An effort was made to create a system that is easy to assemble, with parts that are easy to source and with an overall cost well below the commercial units available. The control software includes the function of automated pre-tensioning to improve the accuracy of the measurement. Our broader purpose here is to make an easy-to-replicate machine available to help conservators and conservation scientists perform tensile tests to make informed choices in materials science.
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The mechanical aspects of canvas painting conservation and the study of the effects of conservation treatments benefit greatly from quantifying the mechanical characteristics of the materials. However, this is seldom possible as only few... more
The mechanical aspects of canvas painting conservation and the study of the effects of conservation treatments benefit greatly from quantifying the mechanical characteristics of the materials. However, this is seldom possible as only few labs have the necessary equipment. This paper presents the development of a biaxial tester to be used for samples of canvas paintings which exhibit orthotropic behavior under biaxial loads. The machine was built as the first step of ongoing Ph.D. research on the mechanics of canvas paintings. An effort was made to create a system that is easy to assemble, with parts that are easy to source and with an overall cost well below the commercial units available. The control software includes the function of automated pre-tensioning to improve the accuracy of the measurement. Our broader purpose here is to make an easy-to-replicate machine available to help conservators and conservation scientists perform tensile tests to make informed choices in materials science.
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This paper describes a process started in 2011 with the use of the “mist lining” technique for a large painting by Titian, conserved in Venice uncontrolled environment. After several experiences with a specific version of the method,... more
This paper describes a process started in 2011 with the use of the “mist lining” technique for a large painting by Titian, conserved in Venice uncontrolled environment. After several experiences with a specific version of the method, Valerio Garofalo’s research thesis helped the standardisation of lining procedures aiming to obtain predictable, reproducible results. This was achieved through the production of a large quantity of mock-up painting linings and samples for peel tests. The bond created with a viscoelastic adhesive appears stronger with high speed testing, if compared with the same at a lower speed, but literature shows high variability of peel speeds. Preliminary tests with different speeds for Plextol B500 allowed to compare results with literature data. The study gives a deeper understanding of the mechanisms involved in adhesion when lining with this method.
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L'enseignement en conservation-restauration est considerablement influence par le contexte culturel dans lequel il est elabore. Selon le pays d'origine, le traitement structurel de peintures sur toile varie largement, refletant... more
L'enseignement en conservation-restauration est considerablement influence par le contexte culturel dans lequel il est elabore. Selon le pays d'origine, le traitement structurel de peintures sur toile varie largement, refletant les conditions climatiques mais egalement les traditions d'enseignement. Via un programme Erasmus, des methodes de rentoilage et de doublage traditionnelles et contemporaines utilisees en Belgique, en Italie et au Portugal ont ete comparees, reunissant des enseignants et des etudiants de l'Ecole Superieure des Arts Saint-Luc de Liege, l'Universita degli Studi Urbino “Carlo Bo” d'Urbino et the Escola das Artes, Universidade Catolica Portuguesa.
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... 9 With the participation of Giorgio Capriotti and Mauro Torre. This work will soon be published. ... 13 Carità, R., Il restauro dei dipinti caravaggeschi della cattedrale, della Valletta a Malta. Bollettino dell'Istituto... more
... 9 With the participation of Giorgio Capriotti and Mauro Torre. This work will soon be published. ... 13 Carità, R., Il restauro dei dipinti caravaggeschi della cattedrale, della Valletta a Malta. Bollettino dell'Istituto Centrale per il Restauro n. 29, 1957. ...
Research Interests: Art, Painting, Stress, Identité culturelle, Elasticity, and 8 moreInstallation, Éthique, Patrimoine, Contrainte, Valeur, Axiologie, Tension, and Stretcher
The painting “David and Goliath” by Tiziano Vecellio, located in the ceiling of the sacristy of the Basilica della Salute in Venice, was flooded with about 500 litres of alkaline solution (water and ash) while extinguishing a fire in... more
The painting “David and Goliath” by Tiziano Vecellio, located in the ceiling of the sacristy of the Basilica della Salute in Venice, was flooded with about 500 litres of alkaline solution (water and ash) while extinguishing a fire in 2010. Water caused flaking of the paint layers, severe deterioration of protein adhesives and the deformation of the textile support. The painting, measuring approx. 3 x 3 meters, was protected with an emergency facing and brought to the “Laboratorio della Misericordia” for conservation treatment. The 1990 paste glue lining was removed and sturgeon glue was used locally for the adhesion of flaked paint. The deteriorated original canvas and preparatory layers needed consolidation by impregnation and a new lining. For both treatments, preliminary research was carried out. The consolidating solution was chosen with tests on mockups in environmental chamber, aiming at increasing the dimensional stability with the high relative humidity and temperatures values expected in Venice. The lining method was studied in order to perform a treatment not requiring the use of moisture nor that of heat, compatible with the environmental conditions and reversible with a minimal stress for the painting. Lining was performed on a light-weight, breathable and inextensible carbon fiber canvas.
The need to roll the painting several times before the final installation, suggested to use a thin and flexible filling material for the losses, obtained with the addition of kaolin powder to a gesso bound with animal glue. The inpainting was mainly intended as a reduction to a “ground” color of the majority of the losses; only a few lacunas were treated with color glazes to reconstruct the missing image. The painting was mounted with elastic tension on a new aluminum stretcher with rolling profiles on the perimeter to minimize friction. The even distribution of elastic tension and the inextensible support allowed to obtain a negligible sagging when hanging in the ceiling of the Sacrestia. Together with the other two paintings by Titian, which make up a triptych in the ceiling, the painting was relocated with a system of miniature chain hoists which enable precise control of the position while operating from a mobile scaffolding. Lifting them and connecting them to the ceiling has now become a safe and relatively simple operation.
The need to roll the painting several times before the final installation, suggested to use a thin and flexible filling material for the losses, obtained with the addition of kaolin powder to a gesso bound with animal glue. The inpainting was mainly intended as a reduction to a “ground” color of the majority of the losses; only a few lacunas were treated with color glazes to reconstruct the missing image. The painting was mounted with elastic tension on a new aluminum stretcher with rolling profiles on the perimeter to minimize friction. The even distribution of elastic tension and the inextensible support allowed to obtain a negligible sagging when hanging in the ceiling of the Sacrestia. Together with the other two paintings by Titian, which make up a triptych in the ceiling, the painting was relocated with a system of miniature chain hoists which enable precise control of the position while operating from a mobile scaffolding. Lifting them and connecting them to the ceiling has now become a safe and relatively simple operation.
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This article describes the treatment of three canvas paintings by Joan Miró, measuring approximately 366 × 347 cm, exhibited as a triptych with the title Peintures Murales pour un Temple (1962).The three paintings were executed on sized,... more
This article describes the treatment of three canvas paintings by Joan Miró, measuring approximately 366 × 347 cm, exhibited as a triptych with the title Peintures Murales pour un Temple (1962).The three paintings were executed on sized, open-weave linen canvas.The paintings have undergone extensive and intrusive early restorations in an attempt to prevent cracking, flaking paint, and planar distortions. During previous treatments, additional animal glue was applied to the versos of the canvases, causing them to become even more reactive to the wide environmental changes they are subjected to.
All previous attempts at treating the paintings were unsuccessful, including the 2006 restretching of the Red painting onto a continuous tension Starofix stretcher. Upon the invitation of a private collection in March 2013, Luca Bonetti Corp. teamed up with Equilibrarte to use a spring-load- ed stretcher to stabilize the reactive paintings by freeing them along their perimeters.A custom-made edge lining,designed by Equilibrarte,was used to allow for movement of the canvas perpendicular to the edge.The tensioning system allowed avoiding the use of tacks or staples, thus highly reducing damage and stresses when mounting and unmounting large canvas paintings.The force is measured on the springs, which are more yielding than the painting.The treatment involved environmental monitoring and frequent condition assessment of the paintings. It was concluded with a thorough revision after 5 years, including minor adjustments.
All previous attempts at treating the paintings were unsuccessful, including the 2006 restretching of the Red painting onto a continuous tension Starofix stretcher. Upon the invitation of a private collection in March 2013, Luca Bonetti Corp. teamed up with Equilibrarte to use a spring-load- ed stretcher to stabilize the reactive paintings by freeing them along their perimeters.A custom-made edge lining,designed by Equilibrarte,was used to allow for movement of the canvas perpendicular to the edge.The tensioning system allowed avoiding the use of tacks or staples, thus highly reducing damage and stresses when mounting and unmounting large canvas paintings.The force is measured on the springs, which are more yielding than the painting.The treatment involved environmental monitoring and frequent condition assessment of the paintings. It was concluded with a thorough revision after 5 years, including minor adjustments.
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The conservation treatment on the White pastel of Boldini, has been a great opportunity for studying the technique of the pastel on canvas in the Nineteenth century. A long research done with analysis and comparisons with other paintings... more
The conservation treatment on the White pastel of Boldini, has been a great opportunity for studying the technique of the pastel on canvas in the Nineteenth century. A long research done with analysis and comparisons with other paintings of the same author has been the first step for developing the restoration project. The portrait was in a bad state of conservation and the intervention was extremely difficult cause to the big size of this wonderful painting that had never undergone an treatment before.
This paper describes a process started in 2011 with the use of the "mist lining" technique for a large painting by Titian, conserved in Venice uncontrolled environment. After several experiences with a specific version of the method,... more
This paper describes a process started in 2011 with the use of the "mist lining" technique for a large painting by Titian, conserved in Venice uncontrolled environment. After several experiences with a specific version of the method, Valerio Garofalo's research thesis helped the standardisation of lining procedures aiming to obtain predictable, reproducible results. This was achieved through the production of a large quantity of mock-up painting linings and samples for peel tests. The bond created with a viscoelastic adhesive appears stronger with high speed testing, if compared with the same at a lower speed, but literature shows high variability of peel speeds. Preliminary tests with different speeds for Plextol B500 allowed to compare results with literature data. The study gives a deeper understanding of the mechanisms involved in adhesion when lining with this method. Cet article décrit un processus qui a débuté en 2011 avec l'utilisation de la technique du "mist lining" pour un grand tableau de Titien, conservé à Venise dans un environnement non contrôlé. Après plusieurs expériences, la thèse de recherche de Valerio Garofalo a contribué à la standardisation des procédures de doublage visant à obtenir des résultats prévisibles et reproductibles. Ceci a été réalisé grâce à la production d'une grande quantité de maquettes et d'échantillons de peinture pour les tests de pelage. L'adhérence créée avec un adhésif viscoélastique semble plus forte lors d'essais à grande rapidité. Des essais préliminaires à différentes vitesses pour le Plextol B500 ont permis de comparer les résultats avec les données de la littérature. L'étude permet d'approfondir la compréhension des mécanismes impliqués dans l'adhérence lors de l'application de cette méthode. Aiming at reproducibility in lining canvas paintings
https://journals.openedition.org/ceroart/6488
https://journals.openedition.org/ceroart/6488
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Il Gran muro panoramico vibrante è una parete mistilinea lunga 14 metri, rivestita da un motivo a righe verticali nere serigrafato su carta bianco avorio; dal soffitto pendono numerosissime bacchette metalliche di colore nero e blu.... more
Il Gran muro panoramico vibrante è una parete mistilinea lunga 14 metri, rivestita da un motivo a righe verticali nere serigrafato su carta bianco avorio; dal soffitto pendono numerosissime bacchette metalliche di colore nero e blu. L’oscillazione anche minima delle bacchette contro il fondo rigato, come anche gli spostamenti dell’osservatore, producono un potente effetto di vibrazione ottica.
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definition of the term Inpainting, of its uses in the profession, accompanied by an historical overview until contemporary times and technologies, in the age of tourism. link to the Enciclopedia website:... more
definition of the term Inpainting, of its uses in the profession, accompanied by an historical overview until contemporary times and technologies, in the age of tourism.
link to the Enciclopedia website:
https://www.onlinelibrary.wiley.com/doi/book/10.1002/9781119188230
link to the Enciclopedia website:
https://www.onlinelibrary.wiley.com/doi/book/10.1002/9781119188230
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Natività della Vergine Constant elastic tension attachment for paintings on fabric, allows even overall tension across the entire picture plane. Small forces (1.8–3.2 N/cm) via soft springs reduce and/or eliminate fl uctuations of tension... more
Natività della Vergine Constant elastic tension attachment for paintings on fabric, allows even overall tension across the entire picture plane. Small forces (1.8–3.2 N/cm) via soft springs reduce and/or eliminate fl uctuations of tension in the paint layers. Theory, development and use are described. Case studies within the Rijksmuseum Amsterdam illustrate the use of a purpose built strainer and an adapted stretcher. A Dutch Landscape (1776), by J. Andriessen (wax/resin lined, 3.29 5.4 m) with stiff and brittle distortions was fl attened and stretched onto a keyable stretcher, approximately 80% elimination of distortions. A superstructure with spring tension resulted in further reduction. For J.W. Pienemans' (1824, wax/resin lined, 5.66 8.23 m), a custom-made aluminum strainer was utilized for crucial fi t between fl oor and ceiling. A perimeter free rolling tube for constant tension made height reduction safe and reversible. An independent framing system is necessary.
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In the Chapel of St. Ignatius in the Church of Gesù in Rome is housed one of the few remaining important altar machines in Catholic Europe. Out of use and forgotten during the last decades, the mechanism needed to be submitted to an... more
In the Chapel of St. Ignatius in the Church of Gesù in Rome is housed one of the few remaining important altar machines in Catholic Europe. Out of use and forgotten during the last decades, the mechanism needed to be submitted to an urgent conservation treatment. The goal was to conserve and repair as much as possible, replacing only what was necessary to bring it to working order. A deep understanding of the original structure was crucial, as it was necessary to make some diffi cult decisions to assure future safe and effi cient operation of the machine.
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la costruzione di una camera climatica a basso costo.
prove sui materiali per verificarne il corretto funzionamento.
prove sui materiali per verificarne il corretto funzionamento.
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Il Laboratorio di Restauro della Provincia di Viterbo si è dotato di una camera climatica progettata e costruita dai restauratori di Equilibrarte s.r.l., concretizzando il programma di allestimento di una stazione sperimentale stabile,... more
Il Laboratorio di Restauro della Provincia di Viterbo si è dotato di una camera climatica progettata e costruita dai restauratori di Equilibrarte s.r.l., concretizzando il programma di allestimento di una stazione sperimentale stabile, già illustrato nel volume " Tensionamento dei dipinti su tela-La ricerca del valore di tensionamento " (a cura di Giorgio Capriotti e Antonio Iaccarino Idelson), Provincia di Viterbo-Nardini Editore, 2004. L'ambiente può essere stabilizzato su valori nell'intervallo 10-30°C e 30-95% UR, programmando variazioni cicliche a fini di ricerca o semplicemente situazioni ambientali controllate utili per il trattamento di opere d'arte. Sono stati inseriti in camera climatica alcuni campioni appositamente realizzati o prelevati da materiale antico, monitorandone l'evoluzione del peso con celle di carico. Le curve di assorbimento d'acqua permettono di valutare il tempo necessario ad una completa stabilizzazione del campione ai nuovi valori ambientali, dato fondamentale per la progettazione di qualunque ricerca che intenda valutare gli effetti delle variazioni ambientali sui materiali artistici. Introduzione Il Laboratorio di Restauro della Provincia di Viterbo si è dotato di una camera climatica progettata e costruita dai restauratori di Equilibrarte s.r.l., concretizzando il programma di allestimento di una stazione sperimentale stabile già anticipato nel volume " Tensionamento dei dipinti su tela-La ricerca del valore di tensionamento " (a cura di Giorgio Capriotti e Antonio Iaccarino Idelson), Provincia di Viterbo-Nardini Editore, 2004. La presenza di una strumentazione atta alla simulazione di condizioni microambientali per lo studio del comportamento dei materiali igroscopici, rappresenta per un laboratorio pubblico che opera nel restauro dei dipinti su tela, un'acquisizione dalle potenzialità rilevanti. Le funzioni che la macchina consente, di misurare cioè oggettivamente i fattori concorrenti alle variazioni reologiche di particolari tipologie di corpi, e quindi le deformazioni e gli scorrimenti che intercorrono tra filati, membrane e film adesivi, valutando le loro performances dal punto di vista del comportamento meccanico, dell'equilibrio statico e di quello cinetico, apre infatti due stimolanti prospettive di impiego. Con la prima si intendono programmare cicli di test sperimentali su campioni mirati di tele preparate e/o foderate, nell'ottica di una valutazione " a confronto " dei materiali esaminati. La novità è costituita dalla gestione interna della ricerca, tarata cioè sulle esigenze specifiche del restauratore nel momento in cui progetta l'intervento di consolidamento/foderatura/tensionamento di un dipinto e considera la variabili delle forze in campo, in funzione per esempio delle condizioni ambientali note (ma spesso sottovalutate) della collocazione finale del dipinto e del suo riequilibrio termoigmometrico in situ. In questa ottica prevedere per simulazione indotta in camera climatica i comportamenti di un sandwich tela/adesivo/tela, a determinati valori di Temperatura ed Umidità Relativa, consente infatti di valutare una scelta progettuale operativa collegandola già ad un modello di conservazione preventiva dell'oggetto. E' il caso dei dipinti su tela frequentemente ricollocati in cappelle in cui le condizioni microclimatiche instabili o non idonee, non sempre vengono sufficientemente considerate nella scelta dei materiali impiegati per la foderatura o il tensionamento. Con la seconda si intende invece investire in modelli formativi che pongano la ricerca applicata al centro della pratica conservativa, in collaborazione con le istituzioni accademiche scientifiche del territorio. Nell'annosa dialettica tra pubblico e privato sullo stato della ricerca in Italia, e nell'attribuzione reciproca sulla responsabilità di una insufficiente programmazione-gestione delle risorse impegnate, è parso di assistere nell'ultimo periodo a
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Please cite this article in press as: L. Arbace, et al., Innovative uses of 3D digital technologies to assist the restoration of a fragmented terracotta statue, Journal of Cultural Heritage (2012), http://dx. a b s t r a c t This paper... more
Please cite this article in press as: L. Arbace, et al., Innovative uses of 3D digital technologies to assist the restoration of a fragmented terracotta statue, Journal of Cultural Heritage (2012), http://dx. a b s t r a c t This paper describes how some innovative methodologies have been designed and employed to support the restoration of the Madonna of Pietranico, a terracotta statue severely damaged in the 2009 earthquake. The statue, fragmented in many pieces, has undergone a complex restoration performed by a multidisciplinary working group. The contribution of digital technologies was planned from the very beginning, since the complexity of this restoration originated the design of innovative procedures for managing the reassembly and restoration process. The Madonna test bed was therefore an example of how technology innovation could be pushed by clear application needs. A first important contribution was the study of the recombination hypothesis of the fragments. This initial phase was performed on digitized 3D models of the statue fragments, with the aim of reducing fragments manipulation, preventing further damages and increasing the capabilities to rehearse and evaluate different reassembly options. The accuracy of the 3D scanned models and the new recombination procedure introduced in this paper allowed to manage this phase in the digital domain with successful results. The digital 3D models were also used to design and produce an innovative supporting structure, constructed with a rapid prototyping device. Another important contribution concerned the study and virtual restoration of the polychrome decoration of the statue; our aim was to reproduce and restore in the virtual 3D domain the very complex original polychrome decoration, on the base of the remaining traces. Consequently, new virtual painting functionalities have been designed on the MeshLab platform (an open-source tool for 3D models visualization and manipulation) for reproducing pictorial decorations over digital 3D models and have been assessed on this specific test bed. This allowed us also to investigate the complexity of the virtual repainting process and to identify further technology enhancements. Finally, computer graphics technologies have been also used to produce a video that tells the story of the restoration. The main research aim of this paper is to show how a number of innovative methodologies have been designed, implemented and assessed to follow the specific needs of a real restoration project, the restoration of a terracotta statue fragmented in several pieces. We aim to demonstrate the level of contribution that innovative (A. Iaccarino Idelson), r.scopigno@isti.cnr.it (R. Scopigno). computer-based technologies could bring to Cultural Heritage (CH) restorers: in finding proper recombination hypothesis of the fragmented artwork; in physically reassembling the original artwork; in studying hypothesis of the original painted decoration and performing a virtual reconstruction; finally, in documenting the restoration process and presenting it to the public.
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Una desafortunada restauración de mediados del siglo XX, arrancó dos tercios del grandioso mural de Antonio Palomino, mutilado tras los desgraciados sucesos históricos ocurridos en la ciudad de Valencia en 1936. Esta actuación supuso un... more
Una desafortunada restauración de mediados del siglo XX, arrancó dos tercios del grandioso mural de Antonio Palomino, mutilado tras los desgraciados sucesos históricos ocurridos en la ciudad de Valencia en 1936. Esta actuación supuso un daño estructural y estético al conjunto pictórico que corre el riesgo de agravarse.
Tras afrontar con éxito la reconstrucción pictórica del tercio del mural que no fue arrancado tras el incendio, se decidió poner en práctica en la zona fronteriza las propuestas de limpieza, traslado a un nuevo soporte y reintegración desarrolladas tras años de investigación.
Tras afrontar con éxito la reconstrucción pictórica del tercio del mural que no fue arrancado tras el incendio, se decidió poner en práctica en la zona fronteriza las propuestas de limpieza, traslado a un nuevo soporte y reintegración desarrolladas tras años de investigación.
the achievements of more than 15 years of research on this method for tensioning canvas paintings. two papers and a poster from the post-prints of a workshop held in Piazzola del Brenta
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consolidation with a mixture of Paraloid B72 and Aquazol 500, as suggested by Richard Wolbers, paint layer deformation improved with humidification chamer and vacuum treatment, a new method used for lining, elastic tension using original... more
consolidation with a mixture of Paraloid B72 and Aquazol 500, as suggested by Richard Wolbers, paint layer deformation improved with humidification chamer and vacuum treatment, a new method used for lining, elastic tension using original strainer
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Si dimostra come il sistema di tensionamento a scorrimento perimetrale consente di utilizzare il telaio originale con la semplice aggiunta di un bordo di scorrimento. le molle, poste sul retro, tengono il dipinto in equilibrio nonostante... more
Si dimostra come il sistema di tensionamento a scorrimento perimetrale consente di utilizzare il telaio originale con la semplice aggiunta di un bordo di scorrimento. le molle, poste sul retro, tengono il dipinto in equilibrio nonostante le variazioni di umidità e temperatura.
la scelta di molle dal basso coefficiente elastico permette di limitare le variazioni di tensione nonostante le variazioni dimensionali. le molle possono anche non essere vincolate al telaio, sebbene questo renda più complesso il sistema.
un articolo pubblicato nel 1996 su Materiali e Strutture. con il titolo "Dipinti su tela: una proposta per conservare i telai originali"
la scelta di molle dal basso coefficiente elastico permette di limitare le variazioni di tensione nonostante le variazioni dimensionali. le molle possono anche non essere vincolate al telaio, sebbene questo renda più complesso il sistema.
un articolo pubblicato nel 1996 su Materiali e Strutture. con il titolo "Dipinti su tela: una proposta per conservare i telai originali"
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Tra i problemi conservativi più importanti, e sicuramente tra i primi a manifestarsi in un dipinto su tela, è la progressiva perdita di tensione sul telaio. Il “rilassamento” del dipinto è causato dalle forti tensioni generate nei... more
Tra i problemi conservativi più importanti, e sicuramente tra i primi a manifestarsi in un dipinto su tela, è la progressiva perdita di tensione sul telaio. Il “rilassamento” del dipinto è causato dalle forti tensioni generate nei materiali costitutivi al variare delle condizioni ambientali e conduce a deformazioni che, dapprima localizzate negli angoli, finiscono con l’interessare l’intero dipinto con gravi ripercussioni sugli strati pittorici.
Nel XIX sec l’invenzione di telai in cui le biette furono sostituite da molle disposte in diagonale negli angoli, concettualmente identico ai telai a biette, causando concentrazione di forze negli angoli: per arrivare a portare una tensione adeguata al centro non si può evitare di sollecitare eccessivamente gli angoli.
Roberto Carità si inserì nel processo evolutivo dei sistemi di tensionamento subito dopo la seconda guerra mondiale, all’Istituto Centrale per il Restauro nel suo momento d’oro. Telai fissi con il bordo arrotondato [9] su cui la tela era lasciata libera di scorrere essendo messa in tensione con un sistema di molle poste sul retro.
Un sistema che, aggiornato con l'uso di molle morbide e lunghe, permette di scegliere la forza adatta e mantenerla quasi costante nel tempo.
Nel XIX sec l’invenzione di telai in cui le biette furono sostituite da molle disposte in diagonale negli angoli, concettualmente identico ai telai a biette, causando concentrazione di forze negli angoli: per arrivare a portare una tensione adeguata al centro non si può evitare di sollecitare eccessivamente gli angoli.
Roberto Carità si inserì nel processo evolutivo dei sistemi di tensionamento subito dopo la seconda guerra mondiale, all’Istituto Centrale per il Restauro nel suo momento d’oro. Telai fissi con il bordo arrotondato [9] su cui la tela era lasciata libera di scorrere essendo messa in tensione con un sistema di molle poste sul retro.
Un sistema che, aggiornato con l'uso di molle morbide e lunghe, permette di scegliere la forza adatta e mantenerla quasi costante nel tempo.
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Una desafortunada restauración de mediados del siglo XX, arrancó dos tercios del grandioso mural que Palomino realizó para la Iglesia de los Santos Juanes de Valencia a finales del siglo XVII. Terriblemente mutilado tras los... more
Una desafortunada restauración de mediados del siglo XX, arrancó dos tercios del grandioso mural que Palomino realizó para la Iglesia de los Santos Juanes de Valencia a finales del siglo XVII. Terriblemente mutilado tras los desgraciados sucesos históricos de 1936, ésta actuación ha supuesto un daño estructural y estético al conjunto pictórico que corre el riesgo de agravarse.
Tras afrontar con éxito la reconstrucción pictórica del tercio del mural que no fue arrancado tras el incendio, se decidió poner en práctica en la zona fronteriza (bajantes de San Matías y San Simón) las propuestas de limpieza, traslado a un nuevo soporte y reintegración desarrolladas tras años de investigación.
Tras afrontar con éxito la reconstrucción pictórica del tercio del mural que no fue arrancado tras el incendio, se decidió poner en práctica en la zona fronteriza (bajantes de San Matías y San Simón) las propuestas de limpieza, traslado a un nuevo soporte y reintegración desarrolladas tras años de investigación.
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I dipinti nel soffitto della Galeria Dorada del Palau Ducal di Gandia dovevano essere smontati, a causa del loro stato di conservazione e per motivi legati al can- tiere di restauro architettonico in corso. Quest’articolo presenta le... more
I dipinti nel soffitto della Galeria Dorada del Palau Ducal di Gandia dovevano essere smontati, a causa del loro stato di conservazione e per motivi legati al can- tiere di restauro architettonico in corso. Quest’articolo presenta le metodologie messe a punto per rimuoverli dai soffitti senza intervenire sulle grandi cornici dorate che li racchiudono, la cui luce è troppo limitata per il passaggio dei dipinti.
I telai originali sono stati restaurati e rifunzionalizzati con un sistema di tensio- namento elastico a scorrimento perimetrale, scegliendo la forza di tensione adatta per ridurne al minimo lo spanciamento.
Per rimontare i dipinti si è sfruttata la possibilità di creare un vano tecnico nel solaio superiore, in cui è stato alloggiato un sistema di binari e carrelli che permette di spostarli nella posizione definitiva utilizzando una sola sala come accesso.
I telai originali sono stati restaurati e rifunzionalizzati con un sistema di tensio- namento elastico a scorrimento perimetrale, scegliendo la forza di tensione adatta per ridurne al minimo lo spanciamento.
Per rimontare i dipinti si è sfruttata la possibilità di creare un vano tecnico nel solaio superiore, in cui è stato alloggiato un sistema di binari e carrelli che permette di spostarli nella posizione definitiva utilizzando una sola sala come accesso.
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L'intervento di restauro di un dipinto romano di un importante caravaggesco. Indagini sulle tecniche esecutive, descrizione dell'intervento sugli strati pittorici. L'evoluzione di un nuovo sistema di foderatura a secco ed afreddo,... more
L'intervento di restauro di un dipinto romano di un importante caravaggesco. Indagini sulle tecniche esecutive, descrizione dell'intervento sugli strati pittorici. L'evoluzione di un nuovo sistema di foderatura a secco ed afreddo, tensionamento elastico con scorrimento perimetrale.
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La realizzazione dei pannelli di supporto per i frammenti di affresco delle volte crollate di Assisi richiedeva un’accurata controformatura che non poteva essere fatta fisicamente sulle volte stesse, perché non si disponeva di un... more
La realizzazione dei pannelli di supporto per i frammenti di affresco delle volte crollate di Assisi richiedeva un’accurata controformatura che non poteva essere fatta fisicamente sulle volte stesse, perché non si disponeva di un ponteggio. La soluzione adottata è stata quella di utilizzare un rilievo per punti, su cui l’architetto Stefano D’Amico ha ricostruito le volte in Autocad. Il disegno è stato rielaborato in modo da evidenziare le linee necessarie per la costruzione delle controforme su cui si sarebbero realizzati i pannelli, in settori di dimensioni maneggevoli e compatibili con le operazioni di montaggio dei frammenti.
I pannelli a sandwich in carbonio/nido d’ape d’alluminio sono stati laminati sottovuoto con resina epossidica, per ottenere strutture leggere, equilibrate e fedeli allo stampo. I pannelli così realizzati sono molto rigidi, per cui la loro forma doveva corrispondere precisamente a quella delle volte e doveva collimare con il perimetro dell’area da riempire. Per questo motivo la verifica dell’errore di progettazione e realizzazione è stato un processo impegnativo e gravato della responsabilità del buon esito dell’intera operazione di rimontaggio. Il rilievo aveva una precisione di circa 0,5 mm (deviazione standard misurata sulla base del confronto con alcuni frammenti rimasti in situ) e sulle controforme costruite si sono misurati scarti puntuali rispetto al disegno Autocad mai superiori a 5 mm.
I pannelli a sandwich in carbonio/nido d’ape d’alluminio sono stati laminati sottovuoto con resina epossidica, per ottenere strutture leggere, equilibrate e fedeli allo stampo. I pannelli così realizzati sono molto rigidi, per cui la loro forma doveva corrispondere precisamente a quella delle volte e doveva collimare con il perimetro dell’area da riempire. Per questo motivo la verifica dell’errore di progettazione e realizzazione è stato un processo impegnativo e gravato della responsabilità del buon esito dell’intera operazione di rimontaggio. Il rilievo aveva una precisione di circa 0,5 mm (deviazione standard misurata sulla base del confronto con alcuni frammenti rimasti in situ) e sulle controforme costruite si sono misurati scarti puntuali rispetto al disegno Autocad mai superiori a 5 mm.
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description of the mechanical deterioration processes of a group of canvas paintings, conservation and elastic refonctionalization of original strainers.
Problem solving in Conservation is made more complex by the difficulty of grounding on scientifically reliable data, and this issue is fundamental for the profession. The specific characteristics of thinking used in Conservation are... more
Problem solving in Conservation is made more complex by the difficulty of grounding on scientifically reliable data, and this issue is fundamental for the profession. The specific characteristics of thinking used in Conservation are compared to those of medicine and architecture. The evolution of Conservation and that of Conservation Science, sharing, exchange and production of information and knowledge are discussed. An outlook on Italian specificity is given, with the aim of favoring discussion on these vital subjects.
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The choice of the value of tension for a canvas painting is crucial for its future life, but tradition has handed us methods based on intuition that do not allow us comparing the results of different choices. Since the 1950es it is... more
The choice of the value of tension for a canvas painting is crucial for its future life, but tradition has handed us methods based on intuition that do not allow us comparing the results of different choices. Since the 1950es it is possible to measure the force used for stretching a painting, but this is very rarely done. This paper describes the evolution of the approach to the problem and points out the results of recent research and changes in attitude.
Keywords : stretcher, tension, stress, elasticity, canvas painting
Keywords : stretcher, tension, stress, elasticity, canvas painting
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Two funerary busts damaged by ISIS in Palmyra, were brought to the Istituto Superiore per la Conservazione e il Restauro (ISCR) in Rome for conservation. Important fragments of the busts were missing, noticeably The Damascus General... more
Two funerary busts damaged by ISIS in Palmyra, were brought to the Istituto Superiore per la Conservazione e il Restauro (ISCR) in Rome for conservation. Important fragments of the busts were missing, noticeably The Damascus General Direction of Antiquities asked the complete reintegration of the image, considered an important symbol of rebirthing for Syrian culture. Italian conservation standards, shaped at ISCR since 1939, would not allow such an extensive reconstruction. Still, a solution was found to fulfill the requirement within the respect of the fundamental principles of reversibility and differentiation of the integration. The unity of such a highly symbolic figure was obtained with 3-D printing technologies. surviving side, mirrored and adapted to the almost perfectly symmetric missing part. The piece was 3-D printed and fixed with magnets, a surface integration was then added to match the surface texture. War destructions propose similar issues to those caused by earthquakes. Italy has been in the need for important post war reconstructions and is now dealing with earthquake damage. Two undergoing ISCR projects on earthquake damaged sites are briefly introduced as case studies: San Salvatore di Campi and San Benedetto, in Norcia. I thank you very much, Professor Tsuneki and Professor Saito for inviting me here. I am not an archaeologist and I am not an architect, I am a conservator, I believe the only one among the speakers. I am here to present the work of my team but also, what is more relevant, the work of , which is the most important institution for conservation in Italy. In order to partially answer the question that was asked yesterday, about what each of the countries represented at this Conference does for Syrian heritage, my presentation will also demonstrate some of the work that Italy is doing for artifacts. The first case is about two Palmyra funerary busts that were in that very museum we have sadly seen many times in the previous presentations these days. Two of these busts were taken to Rome in the frame of a cultural exchange between the Italian Ministry of Culture and the Department of Antiquities of Damascus (Fig. 1). They were displayed for several months in the Colosseum, in an exhi was happening to the Syrian heritage and to show the damages that ISIS is causing. This was quite interesting because, as far as I know, the two funerary busts are the only cultural objects that have been legally exported from Syria during this period of crisis. They have been exported for exhibition and, what is more important from our point of view, for conservation treatment.
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Edited by Fondazione Centro per la Conservazione e il Restauro dei Beni Culturali "La Venaria Reale" Support for this program is provided by the Getty Foundation through its Conserving Canvas initiative.