The costs of not doing it!
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Why not specialize in Crimes against Cultural Heritage?
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:
http://www.criminologi.com/web/news.asp?id=1364&ic=ok
http://archeomafie.altervista.org/
Goya at Pontedera before taking the flight to the Hermitage!
From June 15th to August 10th, the PALP (Palazzo Pretorio di Pontedera) will host the exhibition “Goya and Guido Reni. Art Treasures at the Palp”. Two intense self-portraits of Goya, one of 1771 and the other of 1782 will be shown to the public after years of specialist study, accompanied by the diagnostic campaign conducted by Art-Test. The scientific data will be given great relevance and the results will be exposed to the audience who will so be invited to participate in the discovery of these intriguing works of art.
These works, after this Tuscan preview, will be exhibited, together with other paintings of the Spanish genius, in 2018 in St. Petersburg at the Hermitage Museum. In Pontedera, the two portraits will also be joined by a painting by Guido Reni, “Susanna and the Oldies”, that belongs to the artist’s mature age.
The exhibition is promoted by the Pontedera Culture Foundation
(http://www.pontederaperlacultura.it/la-fondazione/ or https://www.facebook.com/PontederaperlaCultura/) and the municipality of Pontedera.
An opportunity not to let go!
https://www.facebook.com/PontederaperlaCultura/?fref=ts
Lost and found
Under three of the paintings decorating the altars designed between 1565 and 1570 by Giorgio Vasari for Santa Maria Novella, a series of mural paintings were discovered – dating from the end of ‘200 to the beginning of’ 500. The altars were meant to beautify and modernize the Dominican church of Florence, however they only covered pre-existing frescos, belonging to the earliest phase of the church’s history, as it has been discovered on the occasion of a restoration campaign.
Last February 11, the results of the studies on this sensational discovery were presented together with the book “Research in Santa Maria Novella. The fresco of Bruno, Stefano and the others “, edited by Anna Bisceglia, superintendent of the Florentine cultural heritage and published by Mandragora.
Art-Test has been working on one of the three paintings uncovered on the walls of the church, i.e. the one attributed to Bruno di Giovanni, brother of Buffalmacco, depicting San Maurizio captain of the Theban Legion, along with the other martyrs, in a frenzied scene of deep intensity. The martyrs expressions reveal that they know that they are going to die, since they refuse to kill their Christian brethren.
Multispectral images have been acquired in the visible range, in IR reflectography and in UV fluorescence. Such results with XRF investigations, and photomicrographs, determined that the paint is for the largest part, not applied using the frescos technique, but it is a dry painting, that in IR shows an underdrawing. Moreover, on the surface, residues of adhesives have been found, intended for the application of a metallic sheet, especially on the helmets and the armours. The scene on the wall vibrated with the church lighting, with an illusionistic effect that today we can only imagine. (Or a virtual reconstruction could be produced and visualized on the website of Opera Santa Maria Novella, what do you think?)
Last February 11, the results of the studies on this sensational discovery were presented together with the book “Research in Santa Maria Novella. The fresco of Bruno, Stefano and the others “, edited by Anna Bisceglia, superintendent of the Florentine cultural heritage and published by Mandragora.
Art-Test has been working on one of the three paintings uncovered on the walls of the church, i.e. the one attributed to Bruno di Giovanni, brother of Buffalmacco, depicting San Maurizio captain of the Theban Legion, along with the other martyrs, in a frenzied scene of deep intensity. The martyrs expressions reveal that they know that they are going to die, since they refuse to kill their Christian brethren.
Multispectral images have been acquired in the visible range, in IR reflectography and in UV fluorescence. Such results with XRF investigations, and photomicrographs, determined that the paint is for the largest part, not applied using the frescos technique, but it is a dry painting, that in IR shows an underdrawing. Moreover, on the surface, residues of adhesives have been found, intended for the application of a metallic sheet, especially on the helmets and the armours. The scene on the wall vibrated with the church lighting, with an illusionistic effect that today we can only imagine. (Or a virtual reconstruction could be produced and visualized on the website of Opera Santa Maria Novella, what do you think?)
Art is Science 2016
As usual by this time of the year, AIAr organizes a new edition of “Scienza e’ Arte”. And Art-Test takes part in one of the events. This time we will be in Paestum!
The museum of the Archaeological Park hosted a particularly interesting exhibition entitled “Possession”. During the exhibition, AiAr, with its institutional partners and the companies in its network (among which Art-Test), has promoted a diagnostic campaign on numerous finds.
Next 2nd December, in Paestum, at the Museum of the Archaeological Park, a workshop will be held on the topic of possess, robbery and antique art, and the assessments which are possible via archaeometric techniques: Possessione. Trafugamenti e falsi di antichità a Paestum. Le indagini archeometriche.
Art-Test will present, together with the Florentine colleagues of ICVBC-CNR, the scientific data emerging from the analysis of a tomb that was stolen from the Archaeological Park and returned to the museum a few years ago, following a police action in switzerland
.Join us and discover beautiful and hidden treasures!
http://www.museopaestum.beniculturali.it/possessione-trafugamenti-e-falsi-di-antichita-a-paestum/
http://www.associazioneaiar.com/wp/as/?page_id=438
Paintings out of jail: the restoration of the paintings of Porto Azzurro.
On the 9th of April, at SACI (www.saci.florence.edu) a symposium was held on the paintings belonging to the Church of San Giacomo Maggiore the Fort of Elba, now the chapel of the current penitentiary.
The Symposium was an interesting opportunity to learn, thanks to the Superintendent of Pisa, Dott. Francesco D’Anselmo, the official Amedeo Mercurio and to Dr. Roberta Lapucci, head of the restoration department of SACI, about the history and the current status of the fortification built in 1603 on the initiative of Philip II, and the adjoining church. A nodal and strategic site to defend Elba and Argentario from pirate raids from the south and French attacks from the north. Depleted from this function, from the mid-nineteenth century the fortification was gradually converted to a penitential institution.
The paintings which belong to the church and were the subject of analysis and restoration are of the Florentine school and dated between the seventeenth and eighteenth century. They were donated by the Tuscan grand ducal court or commissioned by the governors of the Fort. The iconographic theme is centered on sacred subjects and honours the saints celebrated by the post-Tridentine tradition.
In 1987, because of a riot in the prison, the church was severely damaged and has since been abandoned.
Only now, thanks to the synergy between the SACI school and the Superintendent a project is being carried out to return to the public part of the goods stored here Art-Test has contributed a diagnostic campaign that has studied the first four paintings which underwent restoration. Both addressing conservation aspects and studying the genesis of the paintings through the study of the underlying composition, visualized thanks to reflectographic imaging performed.
The day ended with a praise for the initiative, with the confirmation of the obvious need to recover a site so important to the history of Elba island but also with a reflection, as underlined by dr. Mercurio on what could be the future of the church’s art apparatus. Currently it is not foreseen for the church to be reopened to the public. The restored works if not relocated would still remain unseen by the community. Alternative solutions are therefore being sought after. An alternative way of exhibit could for example include showing the diagnostic surveys to add intriguing information and create fascinating opportunities for the curious tourist.
Here the link to a video of the exhibition https://www.youtube.com/watch?v=iS9Jb3GkM9o