was recently celebrated in the Palazzo del Bargello in Florence, the end of the restoration of the bronze David of Donatello. The work presented
stifled by deposits formed on the uneven surface, they were due to "waxing" in going to meet mineralization, and coatings, inscuritesi over time.
Once again, therefore, an intervention Restoration should be done to remedy past actions, all too often designed to adapt the work to the tastes of the time, rather than the preservation of the work as such.
The restoration was made possible, in our day, thanks to research and development of new technologies that facilitate more targeted and less invasive in particular has been used laser ablation (which we have already seen in another post), to selectively remove the deposits without harming the bronze below.
the success of cleanup work has helped to bring to light traces of gilding, which was originally present on the sculpture, made with the technique a "mission" , and therefore particularly vulnerable.
stifled by deposits formed on the uneven surface, they were due to "waxing" in going to meet mineralization, and coatings, inscuritesi over time.
Once again, therefore, an intervention Restoration should be done to remedy past actions, all too often designed to adapt the work to the tastes of the time, rather than the preservation of the work as such.
The restoration was made possible, in our day, thanks to research and development of new technologies that facilitate more targeted and less invasive in particular has been used laser ablation (which we have already seen in another post), to selectively remove the deposits without harming the bronze below.
the success of cleanup work has helped to bring to light traces of gilding, which was originally present on the sculpture, made with the technique a "mission" , and therefore particularly vulnerable.
addition performed in an exemplary manner, this action seems to us particularly interesting for the way in which it was held: it was, in fact, a workshop, open to the public.
The sculpture was not moved, but simply placed on a stand in the same room where he was exposed to and the restoration was carried out under the curious eyes of visitors.
The sculpture was not moved, but simply placed on a stand in the same room where he was exposed to and the restoration was carried out under the curious eyes of visitors.
the photo shows the site as it appeared Surely this experience was made possible by the excellent conditions in which the work (after all it was an action of "simple" cleaning), and the technique of intervention, which allowed to operate in these environments. Although, therefore, such a procedure is applicable in a few restoration, this is definitely a good example, in our opinion, as well as the restoration can become a protagonist in the public eye.
We would also like to stimulate discussion on the decision to place next to a restored copy of the work, performed with the same technique, on which were applied to all the gilding of which trace was found, and which aims to show the viewer could see the work as the Lorenzo il Magnifico.
We would also like to stimulate discussion on the decision to place next to a restored copy of the work, performed with the same technique, on which were applied to all the gilding of which trace was found, and which aims to show the viewer could see the work as the Lorenzo il Magnifico.
Restored David and in the background, his copy with gilt useful and interesting reconstruction?
Or fake statue that takes away the work that taste of "old", that "patina of time" that makes it fascinating and mysterious?
's your word ....
Or fake statue that takes away the work that taste of "old", that "patina of time" that makes it fascinating and mysterious?
's your word ....
Andrea
References: http://www.beniculturali.it/sala/dettaglio-comunicato.asp?nd=ss, cs & id = 2877
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