The course is aimed at the acquisition of fundamental theoretical and methodological principles for the analysis and management of conservation problems of ancient and contemporary works of art. The course aims in particular at the mastery of the concepts, techniques and procedures that characterize the role of the restorer-conservator of cultural heritage in the various professional fields: in the planning and execution of a restoration intervention, in the care of a collection or in the setting up of temporary exhibitions.

SECTION 4.1
Dr. MARIELLA GNANI - Assistant Dr. Federica Buccolini

Acquire the methodological approach to understanding and preserving contemporary works; identify the atypical constituent materials and of industrial production, the execution technique and the degradation phenomena; assess the risks and the most suitable intervention strategies; learn to collect and organize documentation in an effective and functional way to the specificity of the works.

SECTION 4.2
Dr. MARIELLA GNANI - Assistant Dr. Federica Buccolini

Outline and critically solve the conservation problems of contemporary multi-material artworks, analyzing them both from the theoretical point of view and from the more operational aspects; knowing how to analyze and intervene on supports of different nature and complexity; knowing how to manage the problems of a collection of contemporary works; be able to process and draw up filing and condition report of a contemporary art work.

SECTION 4.3
Dr. Christian Tortato - Assistant Dr. Elisa Millacci

Provide Students:

1. the methodological skills for the study, observation and documentation of information relating to the execution technique, the state of conservation and previous interventions, to prepare an adequate intervention project, scheduled maintenance and enhancement of the restored property;

2. the skills for the best organization of the workspaces;

3. the skills and tools for continuous and permanent training.

SECTION 4.4
Dr. FABIANO FERRUCCI 

Prepare the student to carry out the role of the restorer in the set up of exhibitions, acquiring knowledge and skills regarding risk prevention, state of conservation control, handling, packaging and transport of artworks as well as knowing how to carry out interventions and urgent treatment on the works of art.

INTEGRATIVE MODULE - 3D survey and processing
DR. GIOVANNI CHECCUCCI

Prepare the student for the use of laser scanner technology for the documentation and 3D survey of the artworks through the use of all application software dedicated to achieving this purpose. The works of art on which to apply this methodology will be defined up to the creation of the preparatory graphics for the restoration.

SECTION 4.1
Dr. MARIELLA GNANI - Assistant Dr. Federica Buccolini

FRONTAL LESSONS (24 hours)
0.1. Methodological approach to the restoration of contemporary art (8 hours)
0.2. Conservative problems in temporary exhibitions: reflections and case studies (8 hours)
0.3. Analysis of the techniques for handling and setting up large works (8 hours)
PRACTICAL LESSONS (101 hours)
0.4. Analysis of execution techniques, assessment of the state of conservation and documentation of the works being studied (48 hours)
0.5. Planning and implementation of maintenance and restoration interventions on contemporary works of art from museums and private collections (53 hours)
Artworks object of study and intervention: Mimmo Rotella, “I luoghi dell’industria” 1989; Paolo Icaro, “Incontro Fontana” 1971; Thomas Hirschhorm “Break-through (three)” 2013; Kandinsky “Du und fleckig souple” 1931; Arman “Senza titolo” 1990; Piero Manzoni “Fiato d’artista”; Gastone Novelli “Esplorazione” 1965.

SECTION 4.2

Dr. MARIELLA GNANI - Assistant Dr. Elisa Millacci

FRONTAL LESSONS (12 hours)
0.1. Executive techniques and conservation issues. Some examples from impressionism to street art (4 hours).
0.2. The aesthetics of plastic in contemporary artistic production, from the Constructivists to the Hyperrealists. Material techniques and procedures. (4 hours)
0.3. Analysis of atypical supports, causes and phenomenologies of degradation (4 hours)
PRACTICAL LESSONS (113 hours)
0.4. Analysis of execution techniques, assessment of the state of conservation and documentation of the works being studied (48 hours)
0.5. Planning and implementation of maintenance and restoration interventions on contemporary works of art from museums and private collections (65 hours)
Artworks object of study and intervention: Mimmo Rotella, “I luoghi dell’industria” 1989; Paolo Icaro, “Incontro Fontana” 1971; Thomas Hirschhorm “Break-through (three)” 2013; Kandinsky “Du und fleckig souple” 1931; Arman “Senza titolo” 1990; Piero Manzoni “Fiato d’artista”; Gastone Novelli “Esplorazione” 1965.

SECTION 4.3
Dr. Christian Tortato - Assistant Dr. Elisa Millacci

FRONTAL LESSONS (30 hours)
0.1. The restoration of wooden sculptures: international documents. (4 hours)
0.2. The UNI-EN standards on cultural heritage and restoration (1 hour)
0.3. The issue of retouching: methodology and case studies, with reference to the bibliography, dedicated conferences and case studies (10 hours)
0.4. Scheduled maintenance and preventive conservation (5 hours)
0.5. The usability of the restored wooden works: the issue of lighting (5 hours)
0.6. The dissemination of the results (3 hours)
0.7. The organization of workspaces: suggestions (2 hours)
PRACTICAL LESSONS (95 hours)
0.8. Interventions of cleaning, consolidation, grouting, pictorial integration painting on artefacts present in the laboratory (80 hours)
0.9. Educational visits (15 hours)

SECTION 4.4
Dr. FABIANO FERRUCCI

FRONTAL LESSONS (30 hours)
0.1 The role of the restorer, registrar and other figures involved in the loan and exhibition process; the institutional lender; the private lender; the curator; fitters. (2 hours)
0.2 Legislative references relating to loans for works for temporary exhibitions; the conditionary reports; the facility report; insurance. (2 hours)
0.3 Systems and precautions for the packaging of works: materials and equipment; shockproof and insulating materials. (2 hours)
0.4 Systems and precautions for handling and transporting works. Means and procedures of transport. Mechanical and thermo-hygrometric stress monitoring systems during transport and temporary exposure. (2 hours)
0.5 Display containers: materials and equipment for display containers; Climabox, Climaframe, air-conditioned display cases; exhibition stands; anchoring and fixing systems; Use of UR stabilizers. (2 hours)
0.6 The restorations within the organization of the museum and on the occasion of temporary exhibitions. Responsibility and role of the Cultural Heritage restorer in the planning, direction and execution of works. (8 hours)
0.7 Restoration techniques, deepening of the previously developed themes. Illustration of case studies and exemplary restorations on painted tables and canvases, on wooden sculptures and artefacts. Restoration work on wooden works in golden Pastille. Reproduction of parts in relief of the wooden works by means of a cast. (12 hours)
PRACTICAL LESSONS (95 hours)
0.8 Cleaning, consolidation, grouting, pictorial integration and painting on artefacts on canvas and / or wood (80 hours)
0.9 Educational visits (15 hours)

Internship outside and inside the laboratories. There are no theoretical lessons.

INTEGRATIVE MODULE - 3D survey and processing
DR. GIOVANNI CHECCUCCI

FRONTAL LESSONS (48 hours)
0.1. Introduction to laser scanner technology (8 hours)
0.2. Features and methods of laser scanner survey (8 hours)
0.3. Comparing technologies and methods, Photogrammetry and laser scanner (8 hours)
0.4. Software devices, processing modes and mesh surface models. (8 hours)
0.5. Recap, Cloud Compare, Recap Photo software and their installation (8 hours)
0.6. Choice of the work to be surveyed and elaboration with definition of the methods of representation (8 hours)

LAB.1 – WOODEN ARTWORKS  1
LAB.2 - WOODEN AND ARTIFACTS WORKS PAINTINGS ON CANVAS 1
LAB.3 - WOODEN AND ARTIFACTS WORKS PAINTINGS ON CANVAS

D1 Knowledge and understanding
At the end of Laboratory 4 the student must have acquired the following theoretical knowledge essential to: - recognition of materials, executive techniques and processes of degradation of works on canvas, wood and on atypical supports of contemporary art, with reference to traditional materials and those of industrial production; - understanding of the concepts of risk assessment and preventive conservation.

D2 Applying knowledge and understanding
At the end of Laboratory 4 the student will have to demonstrate to be able to: - plan and carry out a restoration intervention in all its phases; - produce the technical documentation, draw up a condition report and a conservative filing also of complex, composite and multi-material artworks; - manage the handling and packaging operations of the works in the setting up and dismantling phase of temporary exhibitions.

D3 Making judgments
At the end of Laboratory 4 the student will have acquired: - ability to analyze operational choices by evaluating hypotheses and intervention solutions independently. - ability to identify and use appropriate methodologies for the various problems.

D4 Communication skills
At the end of Laboratory 4 the student must be able to: - describe and discuss a conservative intervention project in written and oral form using clear language and a specific technical vocabulary; - draw up an effective and representative report of the conservation status of an ancient and / or contemporary work of art;

D5 Learning skills
At the end of Laboratory 4, the student must be able to: - acquire autonomy in research, in the organization of study topics and in bibliographic study; - analyze and critically evaluate research and methodological choices; - independently investigate the problems relating to the various operational contexts.

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

Integrative 3D Survey and Processing Course Prof. Giovanni Checcucci (48 hours).

Teaching

The teaching activity is based on frontal lectures and practical applications. Educational visits to museums and galleries are also planned.

Attendance

Mandatory frequency of 75% of the total hours, for each section of the laboratory.

Course books

SECTIONS 4.1-4.2 Dr. MARIELLA GNANI

Preparatory texts for the exam

· Leonardo Borgioli, I leganti dell’arte contemporanea, Firenze, Nardini, 2020.

· Giovanna Scicolone (a cura di) Nuovi polimeri per il restauro, Firenze, Nardini, 2020.

· Paolo Cremonesi, Pierre-Antoine Héritier, Un approccio innovativo alla pulitura di superfici dipinte sensibili: la combinazione simultanea di erogazione controllata di liquido e micro-aspirazione, Saonara, Il prato, 2018.

· Mariella Gnani, Le alchimie di Wildt, in Una collezione italiana. Opere dalla Collezione Merlini, a cura di Mariella Gnani con Dario Dalla Lana, Milano, Silvana Editoriale (Quarto quaderno della Collezione Merlini), 2018, pp. 250-255.

· Mariella Gnani, Una breve riflessione: un punto di arrivo è anche un punto di partenza, in Una collezione italiana. Opere dalla Collezione Merlini, a cura di Mariella Gnani con Dario Dalla Lana, Milano, Silvana Editoriale (Quarto quaderno della Collezione Merlini), 2018, p. 249.

· Mariella Gnani, Indagando la materia, in Ennio Morlotti dalla Collezione Merlini al Museo Morandi, a cura di Fabrizio d’Amico, Mariella Gnani, Milano, Silvana Editoriale (Terzo quaderno della Collezione Merlini), 2016, pp. 84-91.

· Giovanna Cassese (a cura di), Il futuro del contemporaneo: conservazione e restauro del design, Roma, Gangemi, 2016.

· Mariella Gnani, L’intreccio tessile di Morandi, in Giorgio Morandi Roberto Longhi, opere, lettere, scritti, a cura di Maria Cristina Bandera, Milano, Silvana Editoriale (Secondo quaderno della Collezione Merlini), 2014, pp. 130-139.

· Mariella Gnani, Indagini conoscitive sulla tecnica esecutiva per la conservazione dell’opera “Teorema” di Fausto Melotti in Melotti Guarda Melotti, a cura di Alberto Salvadori con Mariella Gnani, Milano, Silvana Editoriale (Primo quaderno della Collezione Merlini), 2013, pp. 32-40.

· Marina Pugliese, Tecnica mista. Com’è fatta l’arte del Novecento, Milano, Mondadori, 2012.

SECTION 4.3 Dr. FRANCESCA TONINI

· F. Tonini, Scultura lignea. Tecniche e materiali. Manuale per allievi restauratori, Il Prato, Saonara (PD) 2015.

· Gonzalez Lopez, M.J., Conservacion y restauracion de encarnaciones policromas, Editorial Sintesis, Madrid 2020.

· Marincola, M.D., Kargere, L., The conservation of medieval polychrome wood sculpture. History, theory, practice, J. Paul Getty Trust, Los Angeles 2020.

· Diodato, S.P., I buoni colori di una volta, Menabò, Ortona 2018.

· Francescutti, E., (a cura di), Il restauro del Crocifisso ligneo di Donatello nella Chiesa dei Servi di Padova. Diagnostica, intervento, approfondimenti, Atti della giornata di studio, Udine 15 maggio 2015, Centro Studi Antoniani, Padova 2016.

· U. Baldini, P. Dal Poggetto (a cura di), Firenze restaura. Il Laboratorio nel suo quarantennio. Guida alla mostra (Firenze 18 marzo – 4 giugno 1972), nuova edizione a cura di M. Ciatti, Edifir, Firenze 2013.

· G.B. Fidanza, L. Speranza, M. Valenzuela, Scultura lignea. Per una storia dei sistemi costruttivi e decorativi dal Medioevo al XIX secolo, Atti del Convegno di Serra San Quirico e Pergola 13-15 dicembre 2007, De Luca, Roma 2012.

· Frezzato, F., (a cura di), Cennino Cennini, Il libro dell’arte, Vicenza 2011.

· S. Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX), Carocci, Roma 2011.

· Cesmar 7 (a cura di), Le fasi finali nel restauro delle opere policrome mobili, Atti del congresso, Trento 19-20 novembre 2010, Il Prato, Padova 2011.

· M.G. Fachechi, Museo Nazionale del Palazzo di Venezia. Sculture in legno, Gangemi, Roma 2011.

· Caniato, G. (a cura di), Con il legno e con l’oro. La Venezia artigiana degli intagliatori, battiloro e doratori, Verona 2009.

· Pinna D., Galeotti M., Mazzeo R., Scientific examination for the investigation of paintings. A handbook for Conservators-Restorers, Centro Di, Firenze 2009.

· G.B. Fidanza, N. Macchioni, Statue di legno. Caratteristiche tecnologiche e formali delle specie legnose (Atti del Convegno di Perugia 2005), Istituto poligrafico e Zecca dello Stato libreria dello Stato, Roma 2008.

· L. Speranza, La scultura lignea policroma, ricerche e modelli di restauro, Centro Di, Firenze 2007.

· Brandi, C., Teoria del restauro, Einaudi, Torino 2006.

· Policromia. A escltura policromada religiosa dos seculos XVII e XVIII. Estudo comparativo das tecnicas, alteracoes e conservacao em Portugal, Espanha e Belgica (Atti del Congresso internazionale), Lisbona, 29-31 ottobre 2002.

· Perusini, G., Il restauro dei dipinti e delle sculture lignee, Del Bianco, Udine 2002.

· Tutela del patrimonio culturale: Verso un profilo europeo del restauratore di beni culturali, Atti del Summit europeo, Pavia, 18-22 ottobre 1997.

· Villavecchia Eigenmann, Nuovo dizionario di merceologia e chimica applicata, Hoepli Milano, 1976.

· Marette, J., Conaissance des Primitifs par l’étude du bois di XIIe au XIVe siécle, Paris, 1961.

SECTION 4.4 Dr. FABIANO FERRUCCI

Preparatory texts for the exam

· AA.VV. Guida per il l’organizzazione di mostre d’arte, a cura della Direzione Generale per il patrimonio storico, artistico ed etnoantropologico, Roma, 2005. http://www.pabaac.beniculturali.it/opencms/opencms/ BASAE/sito-BASAE/mp/Servizi-on- line/Mostre-e-Iniziative/ Guida-per-lorganizzazione-di-mostre-darte/index.html

· AA.VV.Beni Mobili: la movimentazione delle opere d’arte, a cura di Maria Fratelli, Padova, Il Prato, 2017.

Further reading texts

• AA.VV. La sicurezza dei Beni Culturali nel trasporto, Atti del convegno, Ministero per i Beni e le Attività Culturali, Istituto Centrale per il Restauro, a cura di AA. VV., Roma, 1997.
• AA.VV. In & Out Guida pratica al prestito di opere d’arte, 2018. http://musei.beniculturali.it/wp-content/uploads/2018/12/IN-and-OUT-Guida-pratica-al- prestito-di-opere-darte-AXA-ART-Roma-2018.pdf
• Fabiano Ferrucci, Il ruolo della progettista nel restauro dei beni culturali, in Progetto Restauro, Trimestrale per la tutela dei beni culturali, n.52 autunno, 2009.
• Fabiano Ferrucci, Il cassone rinascimentale in pastiglia dorata della Galleria Nazionale delle Marche: ricerche e restauro, atti del convegno VII Congresso Nazionale IGIIC – Lo Stato dell’Arte 6 – Napoli, 8-10 Ottobre 2009, Saonara PD, p.p. 93-101 (con G.Terenzi, M.L.Amadori, A. Casoli).
• Ministero per i Beni e le Attività Culturali Standard museali, Atto di indirizzo sui criteri tecnico-scientifici e sugli standard di funzionamento e sviluppo dei musei (art. 150, comma 6, D.L. n. 112/1998) in Museologia Scientifica nuova serie 2007. http://www.anms.it/upload/rivistefiles/179.PDF
• Istituto Centrale per il Restauro e Opificio delle Pietre Dure, Restauro dei dipinti murali, su tavola, su tela, DEI tipografia del Genio Civile. 2007.
• Fabiano Ferrucci, La schedatura informatizzata dei dipinti esposti alla Galleria Nazionale delle Marche: conoscenza e monitoraggio del patrimonio culturale nell’ambito del progetto regionale “carta del rischio”, atti del convegno IV Convegno Nazionale IGIIC - Lo stato dell’arte 4 – Siena, 28-30 Settembre 2006, p.p.539-546, Siena, Santa Maria della Scala (con M.L.Amadori, G.Bernardini, M.Loreti, L.Mochi Onori).
• Fabiano.Ferrucci, Il controllo del microclima nelle gallerie dell’ottocento: Giuseppe Umberto Valentinis ed il governo razionale delle pinacoteche, in Il restauro dei dipinti nel secondo Ottocento, atti del convegno G.U.Valentinis ed il metodo Pettenkofer – Udine, 16-17 Novembre 2001, a cura di G.Perugini, 2002, p.p.81-94.

Assessment

After taking the partial exams of each of the 4 sections (sections 4.1 and 4.2 will be evaluated together), the exam will be recorded during the official exam sessions with a single evaluation resulting from the average of the 4 partial assessments.

ORAL EXAMINATION AND WRITTEN REPORT

To take any partial exam, the student must present a technical report of the activity carried out in the laboratory.

The paper must be sent via e-mail at least two weeks before the exam to the teacher and to the assistant.

The partial examination consists of an oral interview to be held with the teacher who is in charge of the section.

The oral exam will focus on:
- theoretical lessons and laboratory operations;
- bibliography provided by the teachers.

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.

Teaching

Students who have not attended at least 75% of each laboratory section will not be allowed to take partial exams.