Università degli Studi di Urbino Carlo Bo / Portale Web di Ateneo



LABORATORIO 2 - MANUFATTI SU SUPPORTO TESSILE 2 - MODULO 2F TELE

Laboratory 2- Paintings on canvas- Form 2F Canvas
Laboratorio 2 - Manufatti su supporto tessile 2 - Modulo 2F Tele

A.Y. Credits
2015/2016 5
Lecturer Email Office hours for students
Daphne De Luca

Assigned to the Degree Course

Date Time Classroom / Location

Learning Objectives

The didadict laboratory will allow the student to deepen knowledge gained in previous modules and to engage new topics through practical exercises and lectures.

Program

The course is divided on teaching experience to develop in Laboratory/work in progress on paintings and themes developed in the previous modules. The practical part will be held on canvas paintings available in the Laboratory and the theoretical part will include the deepening of the operations being carried out. In particular, it will explore the following topics:

1. Analysis of the performance techniques and state of preservation of the artwork. Planning of the restoration;

2. Exercise: drafting of the Restoration Project and the outlay specification

3. The deacidification of paintings on canvas: methods and materials, measuring of pH on surface, preparation solutions, practice on models and / or artifacts paintings on canvas;

4. The calculation of the DP (degree of polymerization) of a painting on canvas;

5. The treatment of the gaps of traditional materials and new materials for the fillings (Gesso and glue, Aquazo, Balsite)

Bridging Courses

It's requested the frequency to previous models

Learning Achievements (Dublin Descriptors)

- The student must show the control of basic skills related on identification of performance techniques and constituent materials and the reading of the state of preservation of the painting in relation to its conservation history;

- The student must show the requisite skills to use theoretical and practical knowledge that enable to properly design the restoration project and / or maintenance project according to actual needs of the work of art, even in the face teaching cases problematic, and to operate with a certain degree of autonomy both in the preliminary phase of the study (design phase), and in the purely operational phase;

- The student must show the ability to apply the knowledge gained in previous courses and to develop a personal research relating to the concepts assimilated in his studies.

-The Student must show the ability to draw up an accurate technical report of the works done with the reasons for such materials and methods chosen.

Teaching Material

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

Supporting Activities

It will be provided a dossier of texts


Didactics, Attendance, Course Books and Assessment

Didactics

The teaching of the course will be based on the practical work done on the artworks in the laboratory

Attendance

obligation frequency

Course books

- D. De Luca, L. Borgioli, S. Burattini, S. Orsini, Manufatti dipinti su supporto tessile: proposte di materiali alternativi per la stuccatura delle lacune. Comportamento all'invecchiamento, in «Kermes», 90, Nardini, Gennaio-Marzo 2013, pp. 67-70

D. De Luca, L. Borgioli, L. Sabatini, V. Viti, Manufatti dipinti su supporto tessileLa reintegrazione delle lacune: proposta di materiali alternativi in «Kermes», 88, Nardini, Ottobre-Dicembre 2012, pp. 42-54

- D. De Luca, I manufatti dipinti su supporto tessile. Vademecum per allievi restauratori, seconda edizione, Il Prato 2015, pp. 84-88, 157-171

- L. Fuster-Lopez, M.F. Mecklenburg, Materiali per la stuccatura nei dipinti mobili: materiali tradizionali e moderni verso una valutazione critica dell'idoneità, stabilità e versatilità delle formulazioni tradizionali ed attuali, in "Colore e conservazione. Le fasi finali nel restauro delle opere policrome mobili", Atti del congresso, Trento 19-20 novembre 2010, Il Prato, Padova 2011, pp. 45-56

E.E. Peacock, Deacidification of degraded linen, in "Studies on Conservation", 28, 1983, pp. 8-14

G.A. Berger, W.H. Russel, Deacidification of canvas paintings as practised in our studio, in Conservation of paintings. Research and innovation, Archetype publications, London 2000, pp. 81-84

S. Hackney, The De-acidification of canvas paintings, in Cesmar7, C. Sburlino, C. Lodi (a cura di), Prima, Durante...Invece del Restauro, Atti del sesto congresso internazionale Colore e Conservazione, Parma, 16-17 Novembre 2012, Il Prato, Padova 2013, pp. 183-189

M. Oriola, M. Strlic, G. Campo, A. Mozir, A. Nualart-Torroya, C. Ruiz- Recasens, pH and DP Studies of painting canvases, Cesmar7, C. Sburlino, C. Lodi (a cura di), Prima, Durante...Invece del Restauro, Atti del sesto congresso internazionale Colore e Conservazione, Parma, 16-17 Novembre 2012, Il Prato, Padova 2013, pp. 201-208

G. Scicolone (a cura di), Dipinti su tela. Metodologie d'indagine per i supporti cellulosici, Nardini 1993

G. C. Scicolone, A. M. Bonfatti, E. Rosi, A. Sardella, A. Steves, G. Testa, Indagine sugli effetti del consolidamento di supporti cellulosici tessili a diversi stadi di degradazione, in "Kermes", 22, 1995

G. C. Scicolone, La cinetica del degrado della cellulosa in funzione della progettazione degli interventi conservativi sui supporti cellulosici tessili, in M. Castell Augusti, L. Fuster Lopez, S. martin rey, V. Guerola Blay (a cura di), "International Conference on painting conservation", Universidad Politècnica de Valencia, 2005, pp. 255-274

- M.J. Jeong, A.L. e Dupont, E.R. de la Rie, Degradation of cellulose at the wet-dry interface: I Study of the depolymerization, Cellulose, 19, 4, 2012, pp. 1135-1147

Assessment

The examination consists of:
1) To take the exam, the student must submit a technical report on the restoration works carried out in the laboratory, drawn in a group or individually (a report for each work regardless of the number of students who worked there), including :
- Description of the techniques used and the constituent materials;
- Description of the state of conservation;
- Description of the restoration works earlier reported on the artwork;
- Detailed description of the restoration works made on the artwork and of any operations yet to be made (the latter described by points).
The report will be drawn up according to the model provided by the teachers during the modules and will be inclusive of:
- Graphic documentation;
- photographic documentation;
- take-over and documentation form
The work will be completed and corrected during the course of the module and delivered in electronic form and paper copy, at the time of the exam.
Photographic images should be properly numbered and accompanied by its caption.
2) The examination consists on a parley to be incurred with the teachers to the modules followed. The oral exam will focus on:
- Operations made in the laboratory;
- Bibliography provided by the teachers.

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