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

Module Lab. 4 Sez. 4.3 (125 hours)

Conservation and Restoration of Modern and Contemporary Polychrome Artifacts

The module aims to provide attending students with the necessary skills for the study and analysis of modern and contemporary polychrome artworks, to understand their constitutive characteristics, analyze their conservation issues, and define the most appropriate conservation treatments, with particular attention to the use of innovative methodologies.

4.1

MARIELLA GNANI

LECTURES (24 hours)

0.1.  Methodological approach to the restoration of contemporary art, aimed at the material characteristics of the works and understanding the context in which the work was born.

0.2.   Function and processing of the conservation sheet, through the visual analysis of the work and the aid of scientific instrumentation, containing the mapping of degradations and interventions (compilation examples).

0.3.  Relevance of documentation in maintenance and restoration interventions.

0.4.  Analysis of execution techniques and constituent materials. In-depth analysis of the atypical materials used in the 60s and 70s. Focus on Mario Schifano and Renato Guttuso.

0.5.  Investigation of Kandinsky's work Du und fleckig souple for a verification of the execution technique. Ripolin hypothesis.

0.6.  Causes and phenomenology of the degradation of the constituent materials of contemporary art. Focus on the case studies of Mario Schifano, Vasiliji  Kandinskij and Renato Guttuso.

0.7.  Control and maintenance interventions at the “Antonio Ligabue. The great exhibition” Palazzo Albergati, Bologna.

0.8.  Design and implementation of maintenance and restoration interventions on contemporary works of art from affiliated private museums and collections.

0.9.  Conversation Space: students meet Gherardo Rusconi. Director in charge of the Modern & Contemporary Art department of the Capitolium Auction House.

PRACTICAL LESSONS (101 hours)

Works object of study and intervention: Mario Schifano Senza titolo, 1961/62, enamel, graphite and collage   on paper.

Mario Schifano, Upper Part, 1964, mixed media on canvas, 120 x180 cm

Mario Schifano Untitled, 1970s, acrylic on canvas. Mario Schifano, Veduta Interrotta, 1972, enamel, pastel, on two canvases, 110 x 140 cm

Wassily Kandinsky, Du und fleckig souple, 1931, mixed media on cardboard glued on canvas, 47 x 27 cm

4.2

Mariella Gnani

THEORETICAL LESSONS (24 hours)

0.1. Methodological approach to the restoration of contemporary art, aimed at the material characteristics of the works and understanding the context in which the work was born.

0.2. Documentation: functionality and processing of the conservation sheet, through the visual analysis of the work and the aid of scientific instrumentation, containing the mapping of degradation and interventions

0.3. Analysis of execution techniques and constituent materials. In-depth analysis of the atypical materials used in the 1960s-80s. Focus on Mario Schifano

0.4. Investigation of the work of Wassily Kandinsky Du und fleckig souple, 1931, mixed media on cardboard and canvas, 47X 27 cm for a verification of the executive technique. Ripolin hypothesis (continued 4.1)

0.5. Causes and phenomenology of the degradation of the constituent materials of contemporary art. Focus on the case studies of Mario Schifano and Vasilij Kandinsky.

0.6. Educational outing: Morandi Museum Open Laboratory. To develop management dissemination skills in students, with the aid of scientific instrumentation, in spaces intended for the use of cultural heritage and to stimulate the visitor to read the works from the point of view of the restorer-conservator.

0.7. Design and implementation of maintenance and restoration interventions on contemporary works of art from affiliated private museums and collections.

0.8 Conversation Space; the students meet  Michele Pizzi, General Director of Silvana Editoriale

PRACTICAL LESSONS (101 hours)

Works object of study and intervention: Mario Schifano Senza titolo, 1961/62, enamel, graphite and collage   on paper, cm

 Mario Schifano, Landscape 1980, enamel on canvas, 130 x 150 cm

 Mario Schifano, Tree, 1980  enamel on canvas, 130 x150 cm

0.8. Analysis and problems of wax works.

In-depth analysis of modern and contemporary wax modeling. Intervention project on Manzù's work “Testina” 1935/36 plaster and wax 35 x 25x 20 cm.

Principles and techniques for preventive and planned conservation for the conservation of materials

constitutive. Production of a presentation in ppt format to be presented in public.

CONTENTS - Module Lab. 4 sez. 4.3

• Modern and contemporary polychrome artworks: constituent materials and their degradation, with particular attention to modern oil paints, aqueous based acrylic paints, and modern painting materials based on vinyl and alkyd binders.

• Natural, artificial, and synthetic materials in modern and contemporary paintings: polymerization mechanisms, degradation processes.

• Specific conservation issues related to modern and contemporary polychrome artifacts.

• Case studies analysis of restoration treatments carried out on modern and contemporary polychrome artworks.

• Evaluation parameters for contemporary restoration and their application to the analysis of degradation, the definition of the condition, and the drafting of the intervention project.

• Focus on specific conservation methodologies for the treatment of modern and contemporary polychrome artworks

Attending students must have completed the modules Lab 4 section 4.1 and Lab 4 section 4.2, with section 4.3 serving as an in-depth continuation.

EXPECTED LEARNING OUTCOMES - Module Lab 4 Sez. 4.3

Knowledge and understanding skills: acquisition of observation and analysis tools to understand the main mechanisms of alteration of the constituent materials of modern and contemporary paintings from a chemical and physical/mechanical perspective, with particular attention to the study of modern oil painting and additional painting system based on synthetic polymer binders (alkyd, acrylic, vinyl); acquisition of knowledge of innovative methodologies and materials for conservation treatments, with particular attention to cleaning techniques.

Critical evaluation skills: development of a critical and ethical approach to the observation and analysis of modern and contemporary paintings and their conservation treatments, with particular attention to the compatibility between the constituent materials and the conservation techniques.

Design skills: acquisition of the ability to apply the acquired knowledge on the processes of alteration and degradation of modern and contemporary paintings in drafting the conservation status and the consequent definition of the restoration project, according to specific evaluation parameters and specialized technical glossary.

Practical and operational skills: acquisition of the ability to implement the designed conservation  project at an operational level, through the application of appropriate methodologies for trhe treatment of modern and contemporary artworks, with particular attention to innovative cleaning procedures.

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

In addition to lectures, the module includes practical and laboratory exercises, to be defined in relation to the characteristic and distinctive conservation issues of the artworks available in the conservation laboratory for educational purposes.

Teaching

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

TEACHING METHODS - Module Lab. 4 Sez. 4.3

• Classroom lectures

• Practical exercises in the conservation laboratory

LEARNING METHODS - Module Lab. 4 Sez. 4.3

• Active participation by attending lectures and laboratory activities

• Discussion and brainstorming during teaching hours

• Individual study of handouts and notes

• Reading and studying bibliographic contributions and specialist articles included in the exam outline

Attendance

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

Students enrolled in Module Lab. 4 Sez. 4.3  are required to attend in-person lectures and practical exercises, in accordance with the minimum attendance requirements set by the University regulations for access to the exam and for earning academic credits, based on passing the final assessments of the knowledge and skills acquired.

It is advisable for attending students to have the following prerequisites:

·  solid basic knowledge of general, inorganic, and organic chemistry;

·  solid basic knowledge of chemistry applied to restoration;

·  solid basic knowledge of material technology for conservation and restoration.

Course books

Module Lab 4 Sez 4.1-4.2

-G. SCICOLONE, (a cura di) Nuovi polimeri per il restauro, Firenze, Nardini, ,2020

-L. BORGIOLI, I leganti dell’arte contemporanea, Nardini, Firenze, 2020

-D.DE LUCA, I manufatti dipinti su supporto tessile. Vademecum per allievi restauratori, il prato, Verona 2021.

-P. CREMONESI, P.A HÉRITIER, Un approccio innovativo alla pulitura di superfici dipinte sensibili: la combinazione simultanea di erogazione controllata di liquido e micro-aspirazione, Il prato, Soanara,2018

-D.DE LUCA, I manufatti dipinti su supporto tessile. Vademecum per allievi restauratori, il prato, Verona 2021.

-CICRP. Marseille, The Art M. Institute of Chicago (AIC), and the Musée Picaso in Antibes 2011

- A. King, J. H. Townsend, B Ormsby, G. GWENAELLE, GAUTIER, Un’indagine su l’uso del Ripolin da

parte di Kandinsky nei sui dipinti dopo il 1930.Incca (JAIC)

-M. PUGLIESE, Tecnica mista. Com’è fatta l’arte del Novecento, Mondadori, Milano 2012

-A. GIORDANO, P. CREMONESI, Gel rigidi polisaccaridici per il trattamento dei manufatti artistici, Il Prato Editore, Padova,2019

-A. GIORDANO, P. CREMONESI, Gel rigidi polisaccaridici per il trattamento dei manufatti artistici, Il Prato Editore, Padova,2019

-E. ANTONELLI, M. RIVER, I monocromi di Mario Schifano, Bollettino ICR, Roma 2002

-P. DREDGE, Lifting the lid o na collection of Ripolin paint from Sidney Nolan’s studio.From Can

to Canvas,Centre Interrègional de Conservation et Restauration du Patrimoine 

-LUCA RONCHIM Mario Schifano. Una biografia

-AA.VV. La ceroplastica nella scienza e nell’arte, Atti del I Congresso Internazionale, (Firenze, 3-7 giugno 1975), Firenze, Olschki, 1977

Exam Outline - Module Lab. 4 Sez. 4.3

Studying the texts listed in the "ESSENTIAL BIBLIOGRAPHY" is MANDATORY for the exam.

In addition to the essential bibliographic contributions for the exam, further references are provided in “ADDITIONAL BIBLIOGRAPHY” for in-depth study of the materials of modern painting, their degradation processes, conservation issues, and specific conservation treatments:

ESSENTIAL BIBLIOGRAPHY

M. Pugliese. Tecnica Mista: materiali e procedimenti nell’arte del XX secolo. Bruno Mondadori, Milano 2006. FULL READING.

L. Borgioli. I leganti nell’arte contemporanea. Nardini, Firenze 2020. FULL READING.

L. Borgioli, P. Cremonesi. Le resine sintetiche utilizzate nel trattamento delle opere policrome. Il Prato, Padova 2016. FULL READING.

S. Bordini (A cura di), Arte contemporanea e tecniche. Materiali, procedimenti e sperimentazioni. Carocci, Roma 2007. READING THE FOLLOWING CONTRIBUTIONS:

• F. Gallo, “Tecniche e materiali nuovi nelle avanguardie storiche”, pp. 15-36.
• F. Gallo, “Innovazioni nella tradizione”, pp.37-55.
• F.Gallo, “Nuovi materiali”, pp. 59-80.
• F.Gallo, “Gesto e materia”, pp. 81-99.

P. Cremonesi (A cura di). Proprietà ed esempi di utilizzo di materiali siliconici nel restauro dei manufatti artistici. Il Prato, Padova 2016. READING THE FOLLOWING CONTRIBUTIONS:

• P. Cremonesi, “Struttura chimica e proprietà dei materiali siliconici”, pp. 5-14.
• E. Boschetti, “Utilizzo dei materiali siliconici durante la rimozione di adesivi/consolidanti dai supporti in tela, pp. 15-21.
• C. Tortato, “Esperienze nel trattamento delle superfici policrome nei dipinti dell’Ottocento e Novecento: nuovi approcci operativi basati sull’uso di solventi e gelificanti siliconici”, pp. 23-47.

Dall’olio all’acrilico, dall’impressionismo all’arte contemporanea (Atti del 7° Congresso Internazionale Colore e Conservazione - Politecnico di Milano - 13-14 novembre 2015, a cura di V.E. Selva Bonino). Il Prato, Padova 2016. READING THE FOLLOWING CONTRIBUTIONS:

• A. Scotti, “Materiali d’artista (colori e pigmenti) nell’atelier di Giuseppe Pellizza a Volpedo - Colori Muzii”, pp. 15-31.
• S. Rinaldi, “Non solo olio. Colori in tubetto e sperimentazioni artistiche in Italia. 1860-1935”, pp. 22-26.
• P. Bensi, “La pittura italiana della fine dell’Ottocento e dei primi del Novecento fra tecniche innovative e ritorno alla tradizione”, pp. 27-31.
• A. Gioli, “Produttori e venditori di colori a Milano tra metà ’800 e primo ’900”, pp. 32-40.
• M. D’Ayala Valva, “Documenti dall’archivio Lefranc. Il Dossier Muzii”, pp. 41-49.
• E. Ghelardi, J. La Nasa, I. Degano, F. Modugno, M.P. Colombini, E. Storevik Tveit, H. Kutzke, “Oli moderni in pittura: metodi d’indagine”, pp. 61-65.
• A. Burnstock, J. Lee, K.J. Van den Berg, B. Ormsby, “Water sensitivity of modern oil paint films”, pp. 66-76.
• L. Fuster-López, F.C. Izzo, M. Piovesan, V. Damato, D. J. Yusa-Marco, E. Zendri, “Il ruolo dei siccativi nel comportamento delle pitture ad olio commerciali del XX secolo” pp. 77-86.
• A. Lagalante, R. Wolbers, “The cleaning of acrylic paintings: new particle-based water-in-oil emulsifiers”, pp.107-114.
• C. Stavroudis, “Silicone-based solvents in conservation. As free solvents and components of gel systems and microemulsions”, pp. 176-183.
• J. Mauny-Van den Burg, A. Veerman, N. Wilting, “The use of Velvesil plus and Agar for the removal of surface dirt on water sensitive oil paint”, pp. 285-286.

Gels in the Conservation of Art (Eds. L. Angelova, B. Ormsby, J.H Townsend, R. Wolbers - Proceedings of the International Symposium, London - 16,17,18 October 2017), Archetype Publications, London 2017. READING THE FOLLOWING CONTRIBUTIONS:

• R. Wolbers, “Gels, green chemistry, gurus and guides”, pp. 3-8.
• P. Cremonesi, A. Casoli, “Thermo-reversible rigid agar hydrogels: their properties and action in cleaning”, pp. 19-28.
• A. Lagalante, R. Wolbers, “Particle-based silicone cleaning emulsions: studies in model paint systems for the cleaning of water-sensitive artworks”, pp. 193-199.
• C. Stavroudis, “Gels: evolution in practice”, pp. 209-217.
• E. Boschetti, C. Tortato, “Innovative techniques for treating the reverse of paintings: gel systems and Aquazol 500 pre-impregnated facing pads”, pp. 245-249.
• R. Wolbers, “Terminology and properties of selected gels”, pp. 381-394.

P. Cremonesi, “Surface cleaning? Yes, freshly grated Agar gel, please”, in Studies in Conservation, 2016, 61 (6), pp. 362-367. FULL READING.

A. Giordano, P. Cremonesi, “New Methods of Applying Rigid Agar Gels: From Tiny to Large-scale Surface Areas”, in Studies in Conservation, 2021, 66 (8), pp. 437-448. FULL READING.

Adhesives and Consolidants in Painting Conservation (Eds. A. Barros D’sa, L. Bone, R. Clarricoates, A. Gent). Archetype Publications, London 2012. READING THE FOLLOWING CONTRIBUTIONS:

• V. Horie, “Setting the scene: considerations and decision making for planning and undertaking treatments”, pp. 1-6.
• M.F. Mecklemburg, L. Fuster-López, S. Ottolini, “A look at the structural requirements of consolidation adhesives for easel paintings”, pp. 7-23.

P. Gottschaller, “Il mito del Vinavil,” in: Il confine evanescente. Arte Italiana 1960-2010, G. Guercio and A. Mattirolo (eds.), Maxxi Museo Nazionale delle Arti del XXI Secolo, Roma, Mondadori Electa, Milano 2010, pp. 309-341. FULL READING.

ADDITIONAL BIBLIOGRAPHY 

R. Wolbers. Cleaning Painted Surfaces. Aqueous Methods. Archetype Publications, London 2000. Traduzione italiana: La Pulitura di Superfici Dipinte. Metodi Acquosi. Collana Maestri del Restauro, 1. Il Prato, Padova 2005.

Modern Paints Uncovered (Eds. T.J.S. Learner – P. Smithen – J.W. Krueger – M.J. Schilling - Proceedings from the International Symposium - The Getty Conservation Institute, Tate and the National Gallery of Art - 16-19 May 2006, Tate Modern - London). Getty Publications, Los Angeles 2007.

Problemi conservativi dei manufatti dell’Ottocento. I dipinti, la carta, i gessi (Atti, Problemi di Restauro - Giornate di Studio - Milano 2-8-15-23-30 maggio 2006, a cura di M. Fratelli e E. Signorini). Il Prato, Padova 2008.

AA.VV. Effetto Luce. Materiali, tecnica, conservazione della pittura italiana dell’Ottocento (Atti del Convegno - Firenze 12-13 novembre 2008). Edizioni Edifir, Firenze 2008.

P. Cremonesi. L’ambiente acquoso per il trattamento di opere policrome. Il Prato, Padova 2011.

P. Cremonesi, E. Signorini. Un approccio alla pulitura dei dipinti mobili. Il Prato, Padova 2012.

M.T. Doménech-Carbò – L. Fuster-López – L. Osete-Cortina. Aproximación al estudio de los procesos de limpieza en obra pictórica contemporánea. Editorial Universitat Politècnica de València, València 2012.

New Insights into the Cleaning of Paintings (Eds. M.F. Mecklemburg – A.E. Charola – R.J. Koestler,   Proceedings of the “Cleaning 2010 International Conference” - May 2010 - Universidad Politecnica de Valencia and Museum Conservation Institute). Smithsonian Institution Scholarly Press, Washington D.C. 2013.

Issues in Contemporary Oil Paint (Eds. F. Casadio, K. Keune, P. Noble, A. Van Loon, E. Hendriks, S.A. Centeno, G. Osmond - Proceedings of the International Symposium, 28-29 March 2013, Amersfoort, The Netherlands, Cultural Heritage Agency, Ministry of Education, Culture and Science). Springer International Publishing, Cham 2014.

Metal Soaps in Art. Conservation and Research (Eds. K.J Van den Berg, A. Burnstock, J. Krueger, T. Learner, A. De Tagle, G. Heydenreich - Proceedings of the International Symposium, 14-15 March 2016, Amsterdam). Springer International Publishing, Cham 2019.

Conservation of Modern Oil Paintings (Eds. K.J Van den Berg, I. Bonaduce, A. Burnstock, B. Ormsby, M. Scharff, L. Carlyle, G.Heudenreich, K. Keune - Proceedings of the International Symposium, 23-24-25 May 2018, Amsterdam). Springer International Publishing, Cham 2020.

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.

The final examination for the MODULE Lab 4 Sec. 4.3 will be comprehensive, covering all the topics of the course.

The exam will take place in person and will be oral. In addition to lecture notes and slides, reading and understanding the texts listed in the “Essential Bibliography” is mandatory for the exam. For optional in-depth study, further texts are listed in the “Additional Bibliography.”

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.