Antonella Colaninno
realism and pathos giottesco with its total humanization of the figure return to its former splendor in the crucifix of All Saints. After restoration by Marco Ciatti, the monumental Cross of Giotto's Ognissanti Florence will be presented to the public in laboratory environments Opificio delle Pietre Dure of Fortezza da Basso , October 18 to 22. The "restoration effect" allows the visitor to observe closely the works being restored or already restored, as was done for the Pala di San Zeno and the Tapestry of Vigevano. The iconography of Christus patiens buy a new plastic Giotto in the wake of the thirteenth-century tradition that reaches up to Cimabue Giunta Pisano. Always attributed to the Master, as mentioned by ancient sources, the crucifix measuring 4.60 x 3.70 m and is dated between 1310 and 1320. In quatrefoils along the arms of the cross are painted the Virgin and Saint John and up the Redeemer in place of blessing. As the experts say, it is likely that the crucifix has also worked the employee of the Master, known as the relative of Giotto. The cross is missing foot trapezoid (support for the work) that has been lost over the centuries. During the Counter Reformation, the placement of the crucifix has been movement within the Church and, since 1937, the same was placed in the sphere of the sacristy.
"The painting is made according to the canonical criteria of Florentine painting of the time, the version that Giotto had established himself with his works and will remain as a constant rule for nearly a century: solid support in poplar and preparatory layers that combine a linen cloth and two layers of plaster and glue, paint layers thin egg tempera, gilding refined decorative effects in gouache and mission . Peculiarities of Giotto is the inclusion of decorative glass nell'aureola of Christ, as was found in the Cross of Santa Maria Novella. "
"The main damage is identified related support, with some dangerous fractures heal, and the paint surface, which polychromy was heavily affected by the accumulation of dirt and miscellaneous storage (from the smoke of candles, a rubber coating plant all’inquinamento atmosferico moderno). Sono poi evidenti alcuni danni antichi accidentali che hanno causato rotture della cornice ed ammaccature nella pittura, e danni da percolazioni di acqua che hanno causato la perdita di alcune limitate porzioni del colore soprattutto nella zona alta, in corrispondenza del Redentore benedicente”.
“Secondo la metodologia propria del Laboratorio sono state eseguite prime le indagini fisiche non distruttive (senza campionamento): Radiografia X, Fluorescenza UV, Infrarosso FC, Riflettografia IR, Infrarosso BN, Misure di Riflettanza FORS, Fluorescenza X; per ridurre la necessità di indagini chimiche (sezioni stratiografiche, FT-IR, GC-MS) su micro-campioni”.
“Da un technical point of view the biggest problem is the development of cleaning techniques, a subject on which the Laboratory has been experimenting with innovative solutions for the works less aggressive and safer to obtain the desired technical result and critic. In this case, this constant will, over time that led to the restoration of painted furniture industry to implement new classes of materials, aqueous solvents (resin soaps, enzymes, etc..) Down to experimental research on the use of a new type of laser, has joined the extreme delicacy of the painting, made with thin layers of color and with a basic knowledge highly sensitive to aqueous material. Everything led to a complex phase of research, experimentation and development of formulations prepared specifically for this operation. "
"The project therefore provides for well defined before the cleanup work, this stage has already begun with the first small tests and now with wide expanses that already show the possible outcome. What appears to have results of extraordinary beauty that seem to further confirm the authorship of Giotto and strongly support the assessment dell'elevatissima quality of the painting. Then you will go to structural improvements in order to conclude with the aesthetic (restoration of the painted, painting, etc..). "
"The painting is made according to the canonical criteria of Florentine painting of the time, the version that Giotto had established himself with his works and will remain as a constant rule for nearly a century: solid support in poplar and preparatory layers that combine a linen cloth and two layers of plaster and glue, paint layers thin egg tempera, gilding refined decorative effects in gouache and mission . Peculiarities of Giotto is the inclusion of decorative glass nell'aureola of Christ, as was found in the Cross of Santa Maria Novella. "
"The main damage is identified related support, with some dangerous fractures heal, and the paint surface, which polychromy was heavily affected by the accumulation of dirt and miscellaneous storage (from the smoke of candles, a rubber coating plant all’inquinamento atmosferico moderno). Sono poi evidenti alcuni danni antichi accidentali che hanno causato rotture della cornice ed ammaccature nella pittura, e danni da percolazioni di acqua che hanno causato la perdita di alcune limitate porzioni del colore soprattutto nella zona alta, in corrispondenza del Redentore benedicente”.
“Secondo la metodologia propria del Laboratorio sono state eseguite prime le indagini fisiche non distruttive (senza campionamento): Radiografia X, Fluorescenza UV, Infrarosso FC, Riflettografia IR, Infrarosso BN, Misure di Riflettanza FORS, Fluorescenza X; per ridurre la necessità di indagini chimiche (sezioni stratiografiche, FT-IR, GC-MS) su micro-campioni”.
“Da un technical point of view the biggest problem is the development of cleaning techniques, a subject on which the Laboratory has been experimenting with innovative solutions for the works less aggressive and safer to obtain the desired technical result and critic. In this case, this constant will, over time that led to the restoration of painted furniture industry to implement new classes of materials, aqueous solvents (resin soaps, enzymes, etc..) Down to experimental research on the use of a new type of laser, has joined the extreme delicacy of the painting, made with thin layers of color and with a basic knowledge highly sensitive to aqueous material. Everything led to a complex phase of research, experimentation and development of formulations prepared specifically for this operation. "
"The project therefore provides for well defined before the cleanup work, this stage has already begun with the first small tests and now with wide expanses that already show the possible outcome. What appears to have results of extraordinary beauty that seem to further confirm the authorship of Giotto and strongly support the assessment dell'elevatissima quality of the painting. Then you will go to structural improvements in order to conclude with the aesthetic (restoration of the painted, painting, etc..). "
Opificio delle Pietre Dure
Via Filippo Strozzi, Florence 1
Via Filippo Strozzi, Florence 1
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