Knowledge and understanding of the causes and appearance of degradation of painted artefacts on textile support, in particular attention will be focused on the interaction between the support structure and the textile support. Realization of strip-lining with traditional and innovative methods and tools (low pressure table). Study of the first prototypes of elastic tension looms, their evolution over time. At the end of the course the student will be able to master the different techniques of compensation of the textile support and will also be able to create a De Luca® elastic tension frame.

1. History of tensioning paintings on canvas. (HOURS 5)

2. Spring tensioning systems, evolution in their history up to the frames existing today. (HOURS 5)

3. De Luca® elastic tension frame. The scientific and physical aspects behind the creation of the elastic tensioning system. (HOURS 5)

4. Laboratory activities and exercises on models and on real works depending on the availability of the laboratory and the needs of the works to practice on the compensation of the textile support and on strip-lining with the different existing techniques and materials. De Luca® elastic tension frames will also be created depending on the needs of the works available in the laboratory and giving priority to students whose imminent qualification requires this operation. (HOURS 110)

To attend the course the student must have attended the first and second year sections with 75% attendance in each section.

D1 - Knowledge and Understanding

The course provides an in-depth understanding of the causes and aspects of degradation in painted textile supports, with particular focus on the interaction between the support structure and the textile support itself. Students will gain historical knowledge of the tensioning of paintings and the various systems that have evolved over time, including the De Luca® elastic tensioning frames, as well as the scientific and physical principles behind these techniques.

D2 - Applying Knowledge and Understanding

By the end of the course, the student will be able to apply theoretical knowledge to carry out: practical interventions for repairing the textile support, and performing strip-lining. Additionally, the student will gain proficiency in using the low-pressure table for other lining and restoration operations. The course will also provide training on the construction of De Luca® elastic tensioning frames. Practical exercises, based on models and real artworks, will allow students to gain hands-on experience in applying these advanced restoration techniques.

D3 - Making Judgments

The student will develop the ability to independently assess which repair technique and tensioning method is most suitable for each artwork, considering the various physical and material factors involved. They will be able to autonomously apply the most appropriate solutions based on the specific characteristics of the textile support's degradation, as well as make informed decisions about the materials and techniques to be used.

D4 - Communication Skills

At the end of the course, the student will be able to document and present their restoration project clearly and accurately, both in written and oral form. This includes the ability to explain the technical choices made, justify the applied methodologies, and describe the materials used, even in professional or academic contexts. In-class discussions and practical laboratory activities will help develop these communication skills.

D5 - Learning Skills

The student will develop the ability to independently stay up-to-date on new tensioning and repair technologies for textile supports, following advancements in the field of restoration and utilizing bibliographic and scientific resources. Furthermore, they will be able to integrate the new practical and theoretical knowledge acquired during the course into their future professional activities. The practical and laboratory-based approach of the course will encourage continuous learning.

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

Teaching

Frontal lessons and laboratory lessons

Attendance

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%

Course books

1. CAPRIOTTI G., IACCARINO IDELSON A.(a cura di), Tensionamento dei dipinti su tela. La ricerca del valore di tensionamento, Nardini Editore, Viterbo 2004, pp. 57-90.

2. DE LUCA D., 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.

3. DE LUCA D, Sistemi di tensionamento elastico per dipinti su tela: proposta di rielaborazione di alcuni prototipi, in Progetto restauro”, Il Prato, Padova 2022, pp. 2-9

4. DE LUCA D., PISCICELLI A., ROBINO L., 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, 2022. pp. 10-32

5. DEL ZOTTO F., Il delicato equilibrio strutturale dei dipinti su tela: la storia e le soluzioni attuali verso l’autosufficienza progettuale e realizzativa per il restauratore,  in Tensionamento e telai, a cura di Roberto Bestetti e Lorenzo Marchet, Cesmar 7, Il Prato editore, 2016, pp. 60-74.

6. MALTONI A., Il tensionamento elastico della tela, in F.Coltrinari, D. De Luca, G. Pascucci (a cura di) Il restauro della Madonna di Macerata di Carlo Crivelli, Tab Edizioni, Roma, 2023 pp.87-90.

7. ORATA L., Tagli e strappi nei dipinti su tela. Metodologie di intervento, Nardini Editore, Firenze 2010, pp.43-79.

8. SECCO SUARDO G., Manuale ragionato per la parte meccanica dell'arte del restauratore dei dipinti, Milano, 1866.

Assessment

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

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.