3.1 PROF.SSA DAPHNE DE LUCA

Knowledge and understanding of the causes and appearance of the deterioration of artefacts painted on canvas. Ability to read the state of conservation of the artefacts. Acquisition of the notions inherent to the restoration and conservation interventions to be carried out in case of need (traditional and innovative techniques)

3.2 PROF.SSA LUISA LANDI

Learning of advanced cleaning techniques and methodologies. Appropriate use of the tools provided in the laboratory. Deepening of the chemical and physical knowledge of the proposed materials. Development of autonomy in designing an adequate cleaning methodology with respect to polychrome surfaces. Development of manual skills related to the removal of substances above the painted surfaces.

3.3 PROF.SSA FRANCESCA TONINI

The section is about different in-painting techniques for the restoration of easel paintings. In order to study and practice, both exercises on mock-ups and direct interventions on original artefacts will be performed. In addition to the laboratory activities, there will be lectures, and case studies presentations, using videos and on-site visits.

3.4 PROF.SSA FRANCESCA SPAGNOLI

The section aims to deepen the topics already learned in previous courses and consolidate the technical and critical skills of students relating to the aesthetic presentation of wooden works. Study of pictorial reintegration techniques.

MODULO INTEGRATIVO. MICROSCOPIA DEI BENI CULTURALI

DOTT.SSA SABINA BURATTINI

The course aims to provide useful information for the appropriate use of instrumentation and an acquisition of knowledge for the recognition of wood species. In addition to laboratory activities, power point lectures are planned.

3.1 PROF.SSA DAPHNE DE LUCA

3.2 PROF.SSA LUISA LANDI

3.3 PROF.SSA FRANCESCA TONINI

• Filling and smoothing - Traditional and innovative materials and methods (35 hours) Both the traditional materials (e.g. Bologna gypsum and animal glue) and the innovative ones (Aquazol, Klucel-G, Arbocel, Tylose, etc.) will be studied and tested, highlighting their qualities and problems in relation to the various artifacts, their conservation problems, the quality of gaps, the texturing of the surfaces and the final destination of the work (microclimate, etc.). Reference will be made to the most recent research (national and international publications).
• In-painting techniques (watercolor and varnish colors) - Traditional and innovative materials and methods (75 hours) The various in-painting techniques will be presented and compared: hatching (tratteggio), chromatic selection (selezione cromatica), chromatic abstraction (astrazione cromatica), lowering of tone, glazing, etc., with reference to the bibliography and significant case studies in the field. Retouching palette: various techniques will be tested using colors with different binders (watercolors, natural varnish colors, Laropal A81 - Gamblin or self-produced colors, etc.). Reference will be made to the most recent research (national and international publications).
• Varnishing - Traditional and innovative materials and methods (10 hours) Different final varnishes and different application methods will be analyzed, practicing on mock-ups to evaluate the optical effects by changing solvents and application methods, suitable to the original pictorial materials. Reference will be made to the most recent research (national and international publications).
• Case studies and selected interventions (5 hours) With reference to the bibliography, with presentations and videos in multimedia mode, and with the visit to museum sites and exhibitions, case studies and selected interventions will be illustrated, for a better understanding of the topics.

3.4 PROF.SSA FRANCESCA SPAGNOLI

DOTT.SSA SABRINA BURATTINI

1. Use of the optical microscope used? Application of optical microscope to the study and recognition of wood species.

2. Scanning electron microscopy: theory and preparative of wood samples and recognition

3. Transmission electron microscopy: theory and preparation of wood samples. Possible applications

4. Confocal microscopy in the study of wood species. When to use it?

5. Bibliographic material.

The course aims to train the restorer student on the detection of the state of conservation of a work of art through the analysis of the executive technique, the reading of the degradation of its constituent materials and the understanding of the causes triggering this degradation. The student will acquire the appropriate skills to properly design the restoration intervention based on the real needs of the building. Thanks to a solid knowledge of restoration techniques and materials on the market, the student will be able to intervene on the work by choosing the most suitable method and the most innovative techniques using suitable materials.

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

Course books

Sezione 3.1 Tele

DOTT.SSA DAPHNE DE LUCA

D. DE LUCA, I manufatti dipinti su supporto tessile. Vademecum per allievi restauratori, 3° edizione ampliata e aggiornata, Il Prato, Padova 2021, pp. 93-101, 107-124, 129-145, 151-163.

D. DE LUCA, Sistemi di tensionamento elastico per dipinti su tela: proposta di rielaborazione di alcuni prototipi, in Progetto restauro”, Il Prato, Padova 2022, in stampa

DE LUCA, A. PISCICELLI, L. ROBINO, Il restauro della Madonna con Bambino e Santi proveniente dalla chiesa di San Pietro Apostolo di Vaccarile: mantenimento di tensione costante tramite l’impiego di calamite e applicazione di un nuovo sistema di tensionamento elastico, in “Progetto Restauro”, Il Prato, Padova, in corso di stampa.

R. BESTETTI, L. MARCHET (a cura di), Tensionamento e telai dei dipinti su tela fra tradizione e innovazione, Atti del convegno organizzato dal Cesmar7, Piazzola sul Brenta (PD), 1 gennaio-31 gennaio 2015, Il Prato, pp. 5-40, 61-74.

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.

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.

Sezione 3.2 Legno

DOTT.SSA LUISA LANDI

Testi da Studiare:

A.A. VV. Proprietà ed esempi di utilizzo di materiali siliconici nel restauro di manufatti artistici Parte Prima. A cura di P. Cremonesi. Il Prato, Padova 2016

A.A. VV. L’uso di Agarosio e Agar Quaderno n. 4 C7 Il Prato, Padova 2007

M. DAUDIN-SCHOTTE, K. J. VAN DEN BERG, H. VAN KEULEN Analisi e applicazione di materiali per la pittura secco di superfici dipinte non verniciate Quaderno Cesmar Il Prato, Padova 2010

P. CREMONESI L’uso degli enzimi nella pulitura di opere policrome Il Prato, Padova 2002

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

Testi Consigliati:

 PIERO BAGLIONI, DAVID CHELAZZI E RODORICO GIORGI,  Nanotechnologies in the Conservation of Cultural Heritage: A Compendium of Materials and Techniques, Springer,2014

PIERO BAGLIONI E DAVID CHELAZZI Nanoscience for the Conservation of Works of Art, Royal Society of Chemistry,2013

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

ANNA BRUNETTO L'utilizzo della strumentazione laser per la pulitura delle superfici nei manufatti artistici I Talenti Il Prato Padova 2004

AA. VV. Dall’olio all’acrilico, dall’Impressionismo all’arte contemporanea. A cura di V.E Selva Bonino. Atti del 7° Congresso Internazionale COLORE E CONSERVAZIONE, Politecnico di Milano, 13-14 Novembre 2015 Il Prato, Padova 2016

ANTHONY LAGALANTE, RICHARD WOLBERS “The Cleaning of Acrylic Paintings: New Particle-based water-in-oil Emulsifiers” e Chris STAVROUDIS;"Silicone-Based Solvents in Conservation. As free solvents and components of gel systems and microemulsions" Atti del VII Congresso internazionale colore e conservazione “dall’olio all’acrilico, dall’impressionismo all’arte contemporanea Milano, 13-14 Novembre 2015

Sezione 3.3 Tele- Legno

DOTT.SSA FRANCESCA TONINI

• CIATTI, M., Sul “restauro” dei beni culturali. Viatico per gli studenti, Edifir, Firenze 2022, pp. 26-30
• DE LUCA, D., I manufatti dipinti su supporto tessile. Vademecum per gli allievi restauratori, Il Prato, Padova 2020
• TONINI F., (2020) Retouching and surroundings: Tips and tricks for conservation students, in GE-Conservación, 18, 2020 pp. 216-220, https://doi.org/10.37558/gec.v18i1.824.
• BESTETTI, R., La verniciatura dei manufatti policromi: dalle vernici tradizionali alle resine a basso peso molecolare, Il Prato, Padova 2020
• IACCARINO, A., SEVERINI, L., Inpainting, ad vocem in The Encyclopedia of Archaeological Sciences, John Wiley & Sons, Inc., New York 2018
• MUÑ0Z VIÑAS, S., Teoria contemporanea del restauro, Castelvecchi, Roma 2017 (ed. italiana)
• DE LUCA, D., BORGIOLI, L., SABATINI, L., VITI, V., Manufatti dipinti su supporto tessile. Reintegrazione delle lacune. Proposta di materiali alternativi, in Kermes n. 88, Nardini, Firenze 2012, pp. 42-54
• AA.VV., Le fasi finali nel restauro delle opere policrome mobili, Atti del Convegno Cesmar7, Trento 19-20 novembre 2010, Il Prato, Padova 2010
• AA.VV., Mixing and matching. Approaches to retouching paintings, Archetype, London 2010
• CIATTI, M., Appunti per un manuale di storia e di teoria del restauro. Dispense per gli studenti, Edifir, Firenze 2009, pp. 315-408
• FUSTER-LOPEZ, L., AUGUSTI', C., GUEROLA BLAY, V., El estuco en la restauración de pintura sobre lienzo: criterios, materiales y procesos, Universidad Politécnica de Valencia, 2008
• GAETANI, C., La reintegrazione delle lacune attraverso la tecnica del tratteggio: considerazioni sul metodo, in ANDALORO, M. (a cura di), La teoria del restauro nel Novecento da Riegl a Brandi, Atti del Convegno Internazionale di Studi 12-15 novembre 2003, Nardini Editore, Firenze 2006, pp. 277-284
• CIATTI, M., Appunti sulla storia del restauro pittorico in Italia, in Lacuna, Atti dei Convegni 2002-2003, Edifir, Firenze 2004, pp. 15-31
• RINALDI, S., Il punteggiato di Pietro Palmaroli. Genesi tecnica e teoria cromatica, in Studi di Storia dell'Arte n. 15, 2004, pp. 255-274
• AA.VV., Lacuna, Atti dei Convegni 2002-2003, Edifir, Firenze 2004
• MORA, P., MORA, L., PHILIPPOT, P., Il restauro delle pitture murali, Compositori, Bologna 2021
• ALTHOFER, H., La questione del ritocco nel restauro pittorico, Il Prato, Padova 2002 (cenni)
• LEONARD, M., WHITTEN, J., GAMBLIN, R., DE LA RIE, E.R., Development of a new material for retouching, in Tradition and innovation: advances in conservation: contributions to the Melbourne Congress, 10-14 October 2000, pp.111-113
• MASSCHELEIN-KLEINER, L., Ancient binding media, varnishes and adhesives, ICCROM, Roma 1995
• BALDINI, U., Teoria del restauro e unità di metodologia, Nardini, Firenze 1988 (cenni)
• CASAZZA, O., Restauro pittorico nell'unità di metodologia, Nardini, Firenze 1981 (cenni)
• BRANDI, C., Teoria del restauro, Einaudi, Torino 1977 (cenni)
• RECHGroup - Retouching for Cultural Heritage Postprints 1-6, www.rechgroup.pt

Sezione 3.4 Tele- Legno

DOTT.SSA FRANCESCA SPAGNOLI

• H. Althofer , La questione del ritocco nel restauro pittorico, Padova, 2002;
• Giuseppe Basile, Che cosa è il restauro- Come quando e perchè conservare le opere d'arte, Editori Riuniti, Roma, 1989 pp.85-103
• Marco Ciatti, Appunti sulla Storia del restauro pittorico in Italia, in LACUNA. Atti dei convegni 2002/2003 al Salone del Restauro di Ferrara, Edifir, Firenze 2004 pp.15-31;
• G. Canocchi, M.C. Gigli, M.D.Mazzoni, Peter Stiberc, La lacuna della scultura lignea. Problematiche di intervento, in LACUNA. Atti dei convegni 2002/2003 al Salone del Restauro di Ferrara, Edifir, Firenze 2004 pp.131-135
• M. Matteini; A. Moles; La chimica nel restauro, Nardini Editori; pp.3-57; 178-192
• Simona Rinaldi, Restauro dei dipinti a Roma tra Settecento e Ottocento, Restauri pittorici e allestimenti museali a Roma tra Settecento e Ottocento, Edifir Editore 2007, pp.2-27
• C.Pelosi, G.Capobianco , G.Agresti, G.Bonifazi, F. Morresi, S. Rossi, U. Santamaria, S. Serranti Methodological approach to study the stability of selected watercolours for painting reintegration, through reflectance spectrophotometry, Fourier transform infrared spectroscopy and hyperspectral imaging, in Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 198 (2018) 92–106
• 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. 67-72.
• V.Forni, Il problema critico delle integrazioni plastiche nella scultura lignea policroma, in “OPD Restauro” n°10, Centro Di ed. Firenze 1998 (pp. 95-111);
• Massa, V. Scicolone, G. Le vernici per il restauro, Nardini Editore Firenze, 1991;

MODULO INTEGRATIVO_ MICROSCOPIA DEI BC

DOTT.SA SABRINA BURATTINI

1. Peter Kitin, Steven L. Voelker, Frederick C. Meinzer, Hans Beeckman, Steven H. Strauss, and Barbara Lachenbruch.
Tyloses and Phenolic Deposits in Xylem Vessels Impede Water Transport in Low-Lignin Transgenic Poplars: A Study by Cryo-Fluorescence Microscopy.
Plant Physiol. Vol. 154, 2010
 
2.Robert A. Blanchette. A review of microbial deterioration found in archaeological wood from different environments.
International Biodeterioration & Biodegradation, 46 189-204, 2000.

3.Rosemary G. White and Deborah A. Barton. The cytoskeleton in plasmodesmata: a role in intercellular transport? Journal of Experimental Botany, 62, 15, 5249-5266, 2011.

4.Carl J. Houtman, Peter Kitin, Jon C. D. Houtman, Kenneth E. Hammel, Christopher
G. Hunt. Acridine Orange Indicates Early Oxidation of Wood Cell Walls by Fungi. PLOS ONE 25, 2016.
 
5.Yoon Soo Kim & Adya P. Singh. Micromorphological characteristics of Wood biodegradation in wet environments: a review. IAWA Journal, Vol. 21 (2), 2000: 135-155.
 
6.J Bond, L Donaldson, S Hill, K Hitchcock. Safranine fluorescent staining of wood cell walls. Biotechnic & Histochemistry 2008, 83(3-4): 161-171.
 
7.N. Macchioni, B.Pizzo, C. Capretti, G. Giachi. How an integrated diagnostic approach can help in a correct evaluation of the state of preservation of waterlogged archaeological wooden artefacts. Journal of Archaeological Science xxx (2012) 1e9.
 

Assessment

After attending at least 75% of each individual laboratory section, students can take the corresponding partial exam during official exam sessions.

Once students have completed the partial exams for all four sections and the integrative module, the final exam will be recorded during the official exam sessions with a single evaluation resulting from the average of the partial grades. The final grade calculation is as follows:

• Average of partial grades: 95%
• Integrative module grade: 5%

PARTIAL EXAM:

To take each partial exam, students must submit a Technical Report agreed upon with the relevant instructor at the end of the laboratory activities. The report should be sent via email at least two weeks before the exam to the instructors in digital format.

The final grade for the partial exam will be the percentage sum of three components: Laboratory, Written Report, and Oral Exam. The evaluation criteria are as follows:

• Laboratory (40%):

  • 18 if the student meets the minimum attendance requirement
  • 19 to 28 for good manual skills
  • 28 to 30 if the student actively participates and interacts with the group

• Written Report (20%):

  • 18 to 25 if the report covers all the topics discussed
  • 25 to 28 if the report demonstrates appropriate technical language and relevant examples
  • 28 to 30 if all elements of the report are fully and comprehensively illustrated

• Oral Exam (40%):

  • 18 to 23 for incomplete answers lacking appropriate language
  • 24 to 28 for complete answers with suitable language
  • 28 to 30 if the student demonstrates the ability to process and interpret acquired knowledge

The oral exam will cover:

• Laboratory procedures
• Bibliography provided by the instructors
• Discussion of the presented report

Integrative Module Exam:

For the integrative module, students are required to submit a Written Report agreed upon with the instructor.

Disabilities and Learning Disabilities (DSA): Students who have registered disability certification or DSA certification with the Office of Inclusion and Student Rights can request to use concept maps (for keywords) during the exam. To do so, they must send the maps to the course instructor two weeks before the exam, ensuring alignment with university guidelines

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.