I am pleased to report following the contribution of Andrea Santin, as a "special envoy" of our blog, but that soon will become a permanent part of the team of Art & Science :
"was presented Saturday, November 22, at Palazzo Medici Riccardi, which will host the exhibition until March 3, the" Madonna of the Goldfinch ", a masterpiece of Raphael. The painting, created in 1506, comes to us after through many adversities in her 500 years old. Already in 1548 it suffered the collapse of the building where it is kept and broke up into 3 parts, was fortunately recovered and rebuilt, probably by Ridolfo del Ghirlandaio, although it repainted parts. Several were later, attempts to restore the tracks which were recorded by the Opificio delle Pietre Dure in Florence. The painting came, finally, in the hands of the Opificio in 1999, where he was subjected to a meticulous restoration , which lasted nearly 10 years.
The painting before (left) and after (right) restoration
The shows very little in reality, it consists of three rooms: the first two contain extensive documentation of the restoration, since the its first steps, while the third holds the painting together with high 4 works contemporary, which help to highlight the value and uniqueness of the work.
We pause to give an opinion on the show, but we like to emphasize that such exposure is not a simple display of the work (which is truly sublime), but an important attempt to show the restoration work supporting actor as a subject, trying to explain all the steps and make it clear to the public as it is among the most delicate phase in the life of a work.
have been more than two years devoted to diagnostic tests on the painting, and various techniques have been used, predominantly non-invasive:
radiography and tomography : Useful to document previous interventions and to assess the conservation status of the wooden support.
reflectography IR : To gain information on pigments and painting techniques sula.
XRF : allowed to discriminate the pigments used by Raphael from those used later.
3D survey techniques ( profilometry line laser, micro-profilometry Conoscopic , topography of the surface projection of lines ).
FORS (Fiber Optic Reflectance Spectroscopy).
chemical investigations.
In the exhibition these techniques are all documented evocative descriptions and photos, giving proper emphasis to all the work done by technicians. Such documents, however, fails to mention chemical analysis, which are not mentioned in any part of the descriptions. forgetfulness? Perhaps mere failure of analysis "uncomfortable" that required the removal of as many as 7 samples from various parts of the painting.
To satisfy curiosity, or question, however, was published a book entirely dedicated to the restoration work, which contains detailed information of each technique (including chemical analysis!) And the results achieved. The emphasis that the exhibition offers to the diagnostic surgery revealed, even to eyes of a non-expert audience, how much importance it has in achieving the results of such a high level.
We hope that more and more, in the restoration, the attention is placed on diagnostic tests, too often neglected, or deprived of their due consideration.
Andrea "
I would add a very interesting video (though no audio!) Which describes, unfortunately only visually, some phases of the restoration:
The painting before (left) and after (right) restoration
The shows very little in reality, it consists of three rooms: the first two contain extensive documentation of the restoration, since the its first steps, while the third holds the painting together with high 4 works contemporary, which help to highlight the value and uniqueness of the work.
We pause to give an opinion on the show, but we like to emphasize that such exposure is not a simple display of the work (which is truly sublime), but an important attempt to show the restoration work supporting actor as a subject, trying to explain all the steps and make it clear to the public as it is among the most delicate phase in the life of a work.
have been more than two years devoted to diagnostic tests on the painting, and various techniques have been used, predominantly non-invasive:
radiography and tomography : Useful to document previous interventions and to assess the conservation status of the wooden support.
reflectography IR : To gain information on pigments and painting techniques sula.
XRF : allowed to discriminate the pigments used by Raphael from those used later.
3D survey techniques ( profilometry line laser, micro-profilometry Conoscopic , topography of the surface projection of lines ).
FORS (Fiber Optic Reflectance Spectroscopy).
chemical investigations.
In the exhibition these techniques are all documented evocative descriptions and photos, giving proper emphasis to all the work done by technicians. Such documents, however, fails to mention chemical analysis, which are not mentioned in any part of the descriptions. forgetfulness? Perhaps mere failure of analysis "uncomfortable" that required the removal of as many as 7 samples from various parts of the painting.
To satisfy curiosity, or question, however, was published a book entirely dedicated to the restoration work, which contains detailed information of each technique (including chemical analysis!) And the results achieved. The emphasis that the exhibition offers to the diagnostic surgery revealed, even to eyes of a non-expert audience, how much importance it has in achieving the results of such a high level.
We hope that more and more, in the restoration, the attention is placed on diagnostic tests, too often neglected, or deprived of their due consideration.
Andrea "
I would add a very interesting video (though no audio!) Which describes, unfortunately only visually, some phases of the restoration:
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