Optional group:
gruppo OPZIONALE Metodologie per la conservazione e il restauro - (show)
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24
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17974 -
Procedimenti esecutivi e documentazione delle tecniche artistiche
(objectives)
The course will be devoted to the integrated study of the execution modes of works of art relevant to different classes of artefacts. The aim is to acquire: the necessary skills to develop a critical interpretation of the work of art that passes through technical-executive knowledge, a method of research and theoretical-critical tools as well as practical through the direct relationship with Works of art and their context.
Expected learning outcomes At the end of the course students will be able to: 1) demonstrate that they have acquired knowledge about the topics dealt with; 2) write a card on the execution technique of a work of art; 3) correctly present the technical-executive characteristics of a work; 4) to demonstrate that they are able to integrate technical-executive knowledge with the historical-critical analysis of the work.
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POGLIANI Paola
( syllabus)
The course will be devoted to the integrated study of the execution modes of works of art relevant to different classes of artefacts. The aim is to acquire: the necessary skills to develop a critical interpretation of the work of art that passes through technical-executive knowledge, a method of research and theoretical-critical tools as well as practical through the direct relationship with Works of art and their context.
Expected learning outcomes At the end of the course students will be able to: 1) demonstrate that they have acquired knowledge about the topics dealt with; 2) write a card on the execution technique of a work of art; 3) correctly present the technical-executive characteristics of a work; 4) to demonstrate that they are able to integrate technical-executive knowledge with the historical-critical analysis of the work.
( reference books)
M. Cordaro, Per una filologia die materiali costitutivi delle opere d’arte e dei materiali di restauro come fondamento della valutazione storica ed estetica, in Fragmenta Picta. Affreschi e mosaici staccati del Medioevo romano, catalogo della mostra, Roma 1989, pp. 33-36 Pogliani P. (2013). Sguardi sulle tecniche d'esecuzione nella cultura italiana degli anni Trenta. In: (a cura di): M. I. Catalano, Snodi di critica. Musei, mostre, restauro e diagnostica artistica in Italia 1930-1940. p. 151-173, Roma: Gangemi Editore C. Giannini, Materiali e procedimenti esecutivi della pittura murale, Il Prato, 2009, pp. 59-133 A Cerasuolo, Diligenza e prestanza. La tecnica nella pittura e nella letteratura artistica del Cinquecento, Firenze 2014, pp. 113-140 M. Nimmo, C. Olivetti, Sulle tecniche di trasposizione dell’immagine in epoca medievale, in «Rivista dell’Istituto Nazionale d’archeologia e storia dell’arte», S. III, VIII-IX (1985-86), pp. 399-411 P. Pogliani, Pittori e mosaicisti nei cantieri di Giovanni VII (705-707), in L’officina dello sguardo. Scritti in onore di Maria Andaloro, vol. II, Roma 2014, pp. 443-450 Voce MOSAICO - TECNICA enciclopedia dell’Arte medievale http://www.treccani.it/enciclopedia/mosaico_%28Enciclopedia-dell%27-Arte-Medievale%29/ Voce MOSAICO – TECNICA Enciclopedia dell’Arte Antica 1. Terminologia. 3. Mosaici parietali. 4. Mosaici pavimentali. a) Tecnica e artisti http://www.treccani.it/enciclopedia/mosaico_res-b6dbf70d-8c60-11dc-8e9d-0016357eee51_%28Enciclopedia-dell%27-Arte-Antica%29/ P. Pogliani, C. Seccaroni, Il mosaico parietale. Trattatistica e ricette dall'Alto medioevo al Settecento, Nardini Editore, Firenze 2010 CAPP.: I, II, V, VI M. Ciatti – C. Castelli – A. Santacesaria, Dipinti su tavola: la tecnica e la conservazione dei supporti, Firenze 1999, pp. 59-98 G. Perusini, Il restauro dei dipinti e delle sculture lignee: storia e tecniche, Udine 1994 CAP. 7 pp. 199-218
During the lessons the reading of a selection of texts taken from:
Plinio il Vecchio, Storia delle arti antiche, a cura di M. Harari, S. Ferri, Milano 2001 Vitruvio, De architectura, a cura di Pierre Gros, Antonio Corso e Elisa Romano, Torino 1997 Theophilus, Le varie arti : manuale di tecnica artistica medievale / Teofilo Monaco, a cura di Adriano Caffaro, Salerno 2000 C. Cennini, Il libro dell'arte, a cura di F. Brunello, Neri Pozza, Vicenza 1982 G. Vasari, Le vite dei più eccellenti pitturi, scultori et architettori, Firenze 1568, ed cons., Einaudi, Torino, 1995
The volumes indicated can be found at the University Library System. The materials will be available on the educational platform of the University of Tuscia.
NON-ATTENDING STUDENTS will have to agree on the program with the teacher.
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L-ART/04
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48
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Core compulsory activities
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Optional group:
gruppo OPZIONALE attività di laboratorio - (show)
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90
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17986 -
Ulteriori attività formative: dipinti murali
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Gittins Mark
( syllabus)
Program: the course has been organised with the aim of training students to organise and carry out correctly the various phases of a project of conservation and restoration of wall paintings. During the course the student is introduced to all the different phases of a restoration treatment. While maintaining a balance between theory and practice, the first module initially concentrates on the basic theory underpinning much of the rest of course: historical wall painting techniques and materials (backed up by practical work where with students create their own mural paintings), documentation, basic deterioration mechanisms and methods of treatment. This is followed by starting practical work on fragments of wall paintings in the specially equipped conservation studios of the university. The second module of the course concentrates more on the practical aspects of treatment including more specialised lessons on conservation techniques and deterioration phenomena and means of prevention. The last part of the course is a training work site, where the students conduct a treatment on wall paintings on site from start to finish. One of the aims for the courses to encourage the students to work together. During the course the students are also taken on visits to monuments and conservation work sites
Detailed breakdown of the course First module - 150 hours (Mark Gittins) Theory lessons • techniques of wall paintings: original materials, methods of design, the various layers of a wall painting • fresco paintings and secco paintings • studying and documenting an artwork: registering condition and treatment, technical glossaries and methods of graphic documentation • introduction to the deterioration of works • treatment methods and materials
Methodology and practical work Simultaneously with the theoretical lessons the students construct a model of a wall painting in order to gain familiarity with traditional materials and methods. Other practical training is given on basic design, photography, and how to layout and write reports and presentations of treatments as well as introducing conservation materials and their technical and safety data sheets. The students are frequently called upon to describe and discuss their work in order to develop confidence with the language and the ideas involved. During this module the students also begin work on fragments of wall paintings in the university’s wall paintings conservation studio, starting with close observation of the work and it's graphic and photographic documentation leading to the initial phases of planning a treatment and testing various methods.
Second module - 150 hours (Mark Gittins Valeria Valentini)
Theory Lessons • a detailed look at deterioration mechanisms and systems of prevention • examination of more specialised treatment strategies and methods
Methodology and practical work Practical work is undertaken in the university's specialized wall painting studio. During this work the students will experiment with and apply practically the theoretical notions they have studied in their earlier lessons in order to construct a complete cycle of restoration treatment: from historical and technical study to treatment hypotheses and testing, then the treatment itself and the writing of a final report. At the same time as these treatments are undergoing, there will be further lessons involving more detailed discussions on deterioration factors, systems of prevention and more specialised treatment methods and materials. In particular, one part of the course will be dedicated to the theory and practice of various systems of retouching and reintegration , including the toning of losses and the tratteggio system of pictorial reconstruction. Work would be carried out on fragments of wall paintings from the 15th and 16th century from the old city of Castro (VT). The module will conclude with the writing of a detailed report on the treatment carried out by the student on their fragments. This will include the art historical context, evaluation of the condition of the paintings and a critical assessment of the treatment methods adopted. During the module students will have the opportunity present their work both formally and informally to their colleagues so is to gain familiarity with the correct technical language for the field.
( reference books)
Historical sources for techniques: Vitruvius, Pliny, Cenino Cennini, Vasari, etc. Dimos Parte I Modulo I. Tecniche di esecuzione Materiali Costitutivi. ICR, 1978 Dimos Parte I Modulo II. Fattori di deterioramento. ICR, 1978 P. Mora, L. Mora, P. Philipot The Conservation of wall paintings. Butterworths/ICCROM 1977 S. Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX) Carocci editore, 2011 Materiali e tecniche della pittura murale del Quattrocento, Acts of the conference, ENEA, February 2002 Bollettini ICR, OPD, Studies in Conservation Lo stato dell’arte Acts of the IGIIC conferences Acts IIC Conferences. Kermes: La rivista di restauro
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18
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450
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Other activities
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17985 -
Ulteriori attività formative: manufatti dipinti su supporto ligneo. Arredi e strutture lignee 2
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CALDI Cristina
( syllabus)
Program: The teaching mainly involves practical activities in the laboratory and / or in construction site on artefacts and, to a small extent, on models. The theoretical lectures will be from time to time articulated in such a way as to integrate the information provided during practical activities. The arguments processing will also take into account the lessons already imparted or programmed by others Degree course teachers. First phase - 150 hours - Laboratory (C. Caldi) Theoretical lectures: - polychrome wooden sculpture: peculiarities and operational criticalities; - construction techniques of the supports; - consolidants and adhesives for wood. Materials and operating methods; - cleaning and removal of repaintings. Solvents, aqueous systems, supporting; - special techniques: glass eyes;
Second phase - 150 ore - Laboratory (S. Scioscia) Theoretical lectures: - disinfestation and disinfection. Materials and operating methods; - special techniques: estofado, pressbrokat, pictura translucida, aventurine; - the wooden inlays. Degradation techniques and types;
Third phase - 150 ore - Site (C. Caldi) Theoretical lectures: - the wooden ceilings. Techniques and type of degradation; - plastic integrations and reconstructions. Materials and methods.
Pratical activities: - close study of the works and collection of all preliminary information on the data sheets; - graphic documentation (on paper and / or digital support); - consolidation and fixing of the preparation lifts and of the paint layer; - consolidations, renovations, reconstructions of the support wood; - cleaning tests and cleaning; - possible removal of superimposed layers; - grouting and aesthetic presentation; - final protection; - disinfection and / or disinfestation; - gradual preparation of a detailed technical report; - collection and organization of photographic material.
( reference books)
.BERGAMASCHI, Note di tecnica della tarsia lignea tra XV e XVI sec., in “Progetto Restauro”, numero speciale 5, Padova, Il Prato 2018. M. SEBASTIANELLI, G. D’ANNA, Sguardo vitreo nella statuaria lignea devozionale, in «OADI Rivista dell’osservatorio per le Arti Decorative in Italia», 2016. A. CERASUOLO, Estofado e policromie: osservazioni sulla tecnica attraverso la testimonianza di Francisco Pacheco. Atti del convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp 147-160. G.B. FIDANZA, Sistemi di assemblaggio e risultati formali: alcuni casi seicenteschi. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp. 199-210. P. STIBERC, Ricerca anatomica e innovazioni nelle tecniche costruttive della scultura lignea fiorentina del Quattrocento. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n° extra 1, De Luca, 2011, pp. 49-62. AA.VV., Storia di un dettaglio: il coprigiunto, in Conservare e restaurare il legno Conoscenze,esperienze, prospettive. Atti del Convegno di studi, Bressanone 23-26 giugno 2009, pp. 135-150. G.B. FIDANZA, Caratteristiche tecnologiche e formali delle specie legnose. Una verifica su statue e intagli di età moderna, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp.33–57. G. GALOTTA, M. VALENZUELA, Scultura lignea policroma e specie legnose: l’esperienza dell’Istituto Centrale per il Restauro, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 59 –79. N. MACCHIONI, S. LAZZERI, L’identificazione delle specie legnose e la loro caratterizzazione tecnologica, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 9-31. L. SPERANZA, I. TOSINI, Scultura lignea policroma e specie legnose: l’esperienza dell’Opificio delle Pietre Dure di Firenze, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 81 – 101. A. FEDELI, F. FEDELI, Il Coro Ligneo della Cattedrale di San Lorenzo a Perugia Restauro e Ricostruzione in «Kermes – Cronache del Restauro», n.58, 2005, pp. 23-34. G. PERUSINI, Il dibattito sulla reintegrazione della scultura lignea policroma dal 1950 ad oggi ed i restauri italiani, in Die kunst der restaurierung: entwicklungen und tendenzen der restaurierungsästhetik in Europa. Internationale Fachtagung München, Germany 2005, pp. 67-85. P. STIBERC, La scultura lignea policroma del Rinascimento fiorentino. Osservazioni sulla tecnica scultorea in «OPD Restauro», n.17, Firenze, Centro Di, 2005, pp. 304-316. G. CANOCCHI, M.C. GIGLI, M.D. MAZZONI, P. STIBERC, La lacuna nella scultura lignea. Problematiche di intervento. In LACUNA Atti dei convegni 2002/2003 al Salone del Restauro di Ferrara, Firenze, Edifir, 2004, pp. 131-135. G. TAMPONE, Solai, in Strutture di legno. Cultura conservazione restauro, a cura di G. Tampone, M. Mannucci, N. Macchioni, Milano, 2002, pp. 80-90 e 100-107 AA.VV., Applicazioni dei gel come supportanti nel restauro, in «Bollettino ICR», nuova serie n.3, 2001, pp.101-118. V. FORNI, Il problema critico delle integrazioni plastiche nella scultura lignea policroma, in «OPD Restauro», n.10, Firenze, Centro Di, 1998, pp. 95-111. A. CONTI, Puliture della scultura, policromie e problemi di presentazione, in ID., Manuale di restauro, Torino, Einaudi, 1996, pp. 208-217. M. BACCI, Le sculture lignee nel folklore religioso: alcune considerazioni, in Scultura Lignea: Lucca 1200-1425. Lucca dicembre 1995–30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.31-41. E. SPALLETTI, Fortuna critica e collezionismo dell’antica scultura lignea italiana nel Settecento e nell’Ottocento: un avvio di ricerca, in Scultura lignea: Lucca 1200-1425. Lucca dicembre 1995 – 30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.9-30. M. CIATTI, Considerazioni sul restauro della scultura lignea, in «Kermes», n.1, Firenze, Nardini, 1988, pp.6-8. A. PANDOLFO, Aspetti tecnici e conservativi della scultura lignea policroma, in «Kermes», n°1, Firenze, Nardini, 1988, pp.9-13. T.PERUSINI-G.PERUSINI, La tecnica del “Pressbrokat” nell’altare di Giovanni Martini di Remanzacco, in «Restauro nel Friuli Venezia Giulia Memorie della Scuola Regionale di Restauro», n. 1, 1983.
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18
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450
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Other activities
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ITA |
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