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ARTESTIAMO – seen, read, observed for you – A family … torn to pieces (and then reunited … or almost)
The 4th edition of the Master in Legal Archeology and Crimes against Cultural Heritage, based in Rome, will begin in March 2018.
This course, organized by the CSC, “Center for Criminological, Legal and Sociological Studies” of Viterbo, in collaboration with the “Osservatorio Internazionale Archeomafie”, aims to prepare professional profiles on the objectives, modus operandi, strategies and dynamics of criminal organizations dedicated to theft and illicit international trafficking of cultural heritage works. Since last year, Art–Test has the pleasure of being part of the teaching staff of the Master, which includes both training meetings, in the classroom and in the field, and individual work of distance learning and research.
From the 2nd edition, part of the teaching focuses on the scientific techniques of evaluation and recognition of works of art; here Art-Test brings its contribution to this course.
In January and November 2017 we spoke about the scientific techniques that can be used for the dating of artistic and architectural assets, and the use of instrumental analysis for the identification of origin and the recognition of fakes.
Art-Test presented several case studies, to demonstrate how these techniques are used in real situations. We have underlined the importance of a correct and careful interpretation of data, which requires both meticulous comparisons between the different types of analyses carried out and the knowledge of each scientific technique. Furthermore, it is essential to formulate a step-by-step diagnostic plan, carefully prepared according to each specific situation.
For more information on this interesting course:
What is the purpose of exhibitions? To lengthen the CV of the curators, or to offer opportunities for in-depth study for everyone, from scholars to simple enthusiasts?
In the case of the exhibition “La Strage degli Innocenti. Manifesto of Raphaelism by Guido Reni “, inaugurated on January 13th and open until February 18th in Aosta, there are no doubts.
The exhibition, organized thanks to the synergy between the Polo Museale of Emilia Romagna and the Department of Culture of the Autonomous Region of Valle d’Aosta, has as educational goal, as stated by Superintendent Mario Scalini, in the highest sense of the term.
In addition to the possibility of admiring absolute masterpieces, a study of the implicit and explicit sources used by Guido Reni is proposed, as readable in the artist’s masterpiece and in direct comparison with other works exhibited. A few works, but well explained.
In order to better understand and illustrate Guido’s Raphaelism, a work by Raphael is exhibited (for the first time!): “La Perla di Modena”, accompanied by the diagnostic analyses carried out by Art–Test.
The small tablet, discovered in 2010 in the deposits of the Galleria Estense of Modena, was investigated usingscientific methods, and the results were compared with those of other works by the artist and those related to the Madonna of the Pearl in Madrid. All this is presented with great clarity and objectivity.
If you can not go to Aosta, here is the text of the “Journal of Exhibition”.
Against exhibitions, therefore, as Montanari writes? Absolutely not. And if you go to Aosta, let us know.
Art-Test has been called to shed light on the matter in a small church near Florence
Who painted the “Pietà di Marcialla”? The issue has been debated for many years, but only on last 9th of May the first analyses were carried out on the wall painting in Santa Maria a Marcialla, a small church on the Florentine countryside.
Despite its remote location, the painting is of remarkable quality and some scholars believe it to be the work of Michelangelo Buonarroti. So finally the Municipality of Barberino Val d’Elsa decided to investigate the claim, by promoting objective studies conducted with scientific devices.
Art-Test Florence, in charge of the investigations, during the first survey could confirm the presence of many incisions to be connected with the transferring of the preparatory drawing onto the wall and, moreover, the existence of some “pentimenti” concerning e.g. the lower arm and the left leg of Christ. Furthermore, new details emerged from a first careful examination of the painting, e.g. the depiction of a city walled with towers, located between the Good Thief and Our Lady.
Much more needs investigation. It is not yet clear, e.g., which pictorial technique was used to perform the work, i.e. if is it a real “fresco” or not. Moreover, based on the analyses made so far, it is not certain whether it was painted only by one hand or more painters contributed. This first diagnostic campaign was only the first act of the full scientific campaign that awaits this painting. The town of Barberino Val d’Elsa, by the will of its Mayor Trentanovi, shall support the next studies meant to fully understand the genesis of the work, the adopted art techniques , the material composition of the painting and the possible overlay of more versions. Eager to find out more? So are we! We will keep you up to date!