The didadict laboratory will allow the student to deepen knowledge gained in previous modules and to engage new topics through practical exercises and lectures.

The course is divided on teaching experience to develop in Laboratory/work in progress on paintings and themes developed in the previous modules. The practical part will be held on canvas paintings available in the Laboratory and the theoretical part will include the deepening of the operations being carried out. In particular, it will explore the following topics:

1. Analysis of the performance techniques and state of preservation of the artwork. Planning of the restoration;

2. Exercise: drafting of the Restoration Project and the outlay specification

3. The deacidification of paintings on canvas: methods and materials, measuring of pH on surface, preparation solutions, practice on models and / or artifacts paintings on canvas;

4. The calculation of the DP (degree of polymerization) of a painting on canvas;

5. The treatment of the gaps of traditional materials and new materials for the fillings (Gesso and glue, Aquazo, Balsite)

It's requested the frequency to previous models

- The student must show the control of basic skills related on identification of performance techniques and constituent materials and the reading of the state of preservation of the painting in relation to its conservation history;

- The student must show the requisite skills to use theoretical and practical knowledge that enable to properly design the restoration project and / or maintenance project according to actual needs of the work of art, even in the face teaching cases problematic, and to operate with a certain degree of autonomy both in the preliminary phase of the study (design phase), and in the purely operational phase;

- The student must show the ability to apply the knowledge gained in previous courses and to develop a personal research relating to the concepts assimilated in his studies.

-The Student must show the ability to draw up an accurate technical report of the works done with the reasons for such materials and methods chosen.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

It will be provided a dossier of texts

Teaching

The teaching of the course will be based on the practical work done on the artworks in the laboratory

Attendance

obligation frequency

Course books

TESTI DI STUDIO

D. DE LUCA, I manufatti dipinti su supporto tessile. Vademecum per allievi restauratori, Il Prato 2015, 2° edizione

A. FINOZZI, Esperienze recenti di non foderatura, in: Dipinti su tela problemi e prospettive per la conservazione, Giornata di studio, Ferrara 1 Aprile 2006, Il Prato Editore, pp. 85-93.

P. CREMONESI, E. SIGNORINI, Un approccio alla pulitura dei dipinti mobili, Il Prato, 2012

M.F.  MECKLENBURG,  Meccanismi di cedimento nei dipinti su tela: approcci per lo sviluppo di protocolli di consolidamento, Il Prato, Padova, 2007, pp. 11-36

M. ROSSI DORIA, I trattamenti di consolidamento strutturale dei dipinti su tela fra sperimentazione e tradizione: aggiornamenti a partire dalla tradizione romana, in: Dipinti su tela problemi e prospettive per la conservazione, Giornata di studio, Ferrara 1 Aprile 2006. Il Prato Editore, pp. 107-118.

G. HIBY, Il ciclododecano nel restauro dei dipinti su tela e manufatti policromi, in “Quaderni del Cesmar7”, 5, Padova 2008

L. BORGIOLI, E. BOSCHETTI, Il fascino discreto del ciclododecano, “Progetto Restauro”, Padova, 2007, 42, pp. 2-5.

S. HACKNEY, The de-acidification of canvas paintings, in C. SBURLINO, C. LODI, Prima, Durante…Invece del restauro, Atti del VI° congresso internazionale Colore e Conservazione, Parma, 16-17 novembre 2012, Il Prato, Padova 2013, pp. 183-189

M. ORIOLA, M. STRLIC, G. CAMPO, A. MOZIR, A. NUALART-TORROJA, C. RUIZ-RECASENS, pH and DP studies of painting canvases, in C. SBURLINO, C. LODI, Prima, Durante…Invece del restauro, Atti del VI° congresso internazionale Colore e Conservazione, Parma, 16-17 novembre 2012, Il Prato, Padova 2013, pp. 201-208

Assessment

The examination consists of:
1) To take the exam, the student must submit a technical report on the restoration works carried out in the laboratory, drawn in a group or individually (a report for each work regardless of the number of students who worked there), including :
- Description of the techniques used and the constituent materials;
- Description of the state of conservation;
- Description of the restoration works earlier reported on the artwork;
- Detailed description of the restoration works made on the artwork and of any operations yet to be made (the latter described by points).
The report will be drawn up according to the model provided by the teachers during the modules and will be inclusive of:
- Graphic documentation;
- photographic documentation;
- take-over and documentation form
The work will be completed and corrected during the course of the module and delivered in electronic form and paper copy, at the time of the exam.
Photographic images should be properly numbered and accompanied by its caption.
2) The examination consists on a parley to be incurred with the teachers to the modules followed. The oral exam will focus on:
- Operations made in the laboratory;
- Bibliography provided by the teachers.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.