Laboratory 4 - Artifacts painted on textile support. Artifacts painted on a wooden support, artifacts carved in wood, furnishings and wooden structures. Manufactured, assembled and / or painted synthetic materials (20 CFU) divided into:

Section 4.1 - CONTEMPORARY (Mariella Gnani)

The aim of the course is to outline and critically solve the conservative problems of contemporary works, analyzing them both from a theoretical point of view and in the more technical and application aspects.

Section 4.2 - CONTEMPORARY (Mariella Gnani)

The course will allow students to analyze the execution techniques and the phenomena of degradation of contemporary materials, to plan and carry out maintenance and restoration interventions through practical and operational experiences.

Section 4.3 - TELE-LEGNO: CANTIERE I (Luca Antonelli)

The aim of the course is to provide the student with a methodology for the study, observation and documentation of information relating to the execution technique, state of conservation and previous interventions, aimed at developing the most suitable intervention strategy.

Section 4.4 - TELE-LEGNO: CANTIERE II (Fabiano Ferrucci)

The aim of the course is to prepare the student to play the role of restorer in the preparation of the exhibitions, acquiring knowledge and skills regarding risk prevention, control of the state of conservation, movement of the works, packaging, transport , as well as being able to carry out emergency interventions and treatments on the works.

Section 4.1 (contemporary) - Synthetic materials worked, assembled and / or painted (5 credits - 125 hours)

FRONTAL LESSONS (32 hours)
0.1. Methodological approach to the restoration of contemporary art (8 hours)
0.2. Analysis of atypical supports, causes and phenomena of degradation (8 hours)
0.3. Conservative problems in temporary exhibitions: reflections and case studies (8 hours)
0.4. Analysis of the techniques for handling and setting up large works (8 hours)
PRACTICAL LESSONS (93 hours)
0.5. Analysis of execution techniques, assessment of the state of conservation and documentation of the works being studied (29 hours)
0.6. Design and implementation of maintenance and restoration interventions on contemporary works of art from museums and private collections (40 hours)
0.7. Educational visits with operational experiences (condition reporting, ordinary maintenance, set-up / dismantling) at museums and private collectors (24 hours)

Section 4.2 (contemporary) - Synthetic materials worked, assembled and / or painted (5 credits - 125 hours)

LESSONS (7 hours) - online lesson on blended
0.1. Executive techniques and conservation issues. Some examples from impressionism to street art (4 hours).
0.2. Cognitive investigations on the executive technique for the conservation of the artwork Teorema by Fausto Melotti (1 hour)
0.3. The aesthetics of plastic in contemporary artistic production, from the Constructivists to the Hyperrealists. Material techniques and procedures. (2 hours)
PRACTICAL LESSONS (118 hours) - Abano Terme educational site
0.4. Implementation of maintenance interventions on artworks on display (41 hours)
0.5. Observation aimed at the cognitive investigation of the artwork in Vis / UV light and under the microscope (18 hours)
0.6. Assistance in setting up works, photographic documentation and condition report (41 hours)
0.7. In-depth study on communication and the catalog (18 hours)

Section 4.3 (canvas-wood) - Painted articles on textile support, Painted articles on wooden support, carved articles in wood, furnishings and wooden structures. SHIPYARD I (5CFU - 125 hours)

FRONTAL LESSONS (45 hours)
0.1 Restoration techniques and in-depth study of previously developed themes (8 hours)
0.2 Museum conservation: control and monitoring of the conservation status of exhibited and unexposed works; the exhibition and work environments (8 hours)
0.3 The reality of museum deposits, the technical sheets of the works (8 hours)
0.4 Scheduled maintenance and preventive conservation; environmental care, thermo-hygrometric monitoring, control of light radiation and pollutants (8 hours)
0.5 Management of the exhibited works and periodic maintenance, post-restoration protocols (13 hours)
PRACTICAL LESSONS (80 hours)
0.6 Conservative filing of works (24 hours)
0.7 First aid operations: pre-consolidation (glazing, fixing of detached or dangerous elements) (56 hours)

Section 4.4 (cloth-wood) - Artifacts painted on textile support, Artifacts painted on wooden support, artifacts carved in wood, furnishings and wooden structures. CANTIERE II (5CFU - 125 hours)

FRONTAL LESSONS (30 hours)
0.1 The role of the restorer, registrar and other figures involved in the loan and exhibition process; the institutional lender; the private lender; the curator; fitters. (2 hours)
0.2 Legislative references relating to loans for works for temporary exhibitions; the conditionary reports; the facility report; insurance. (2 hours)
0.3 Systems and precautions for the packaging of works: materials and equipment; shockproof and insulating materials. (2 hours)
0.4 Systems and precautions for handling and transporting works. Means and procedures of transport. Mechanical and thermo-hygrometric stress monitoring systems during transport and temporary exposure. (2 hours)
0.5 Display containers: materials and equipment for display containers; Climabox, Climaframe, air-conditioned display cases; exhibition stands; anchoring and fixing systems; Use of UR stabilizers. (2 hours)
0.6 The restorations within the organization of the museum and on the occasion of temporary exhibitions. Responsibility and role of the Cultural Heritage restorer in the planning, direction and execution of works. (8 hours)
0.7 Restoration techniques, deepening of the previously developed themes. Illustration of case studies and exemplary restorations on painted tables and canvases, on wooden sculptures and artefacts. Restoration work on wooden works in golden Pastille. Reproduction of parts in relief
of the wooden works by means of a cast. (12 hours)
PRACTICAL LESSONS (95 hours)
0.8 Cleaning, consolidation, grouting, pictorial integration and painting on artefacts on canvas and / or wood (80 hours)
0.9 Educational visits (15 hours)

Each section can be attended having followed the previous one with at least 75% presence and in the following order:

Section 4.1 Mariella Gnani
Section 4.2 Mariella Gnani
Section 4.3 Luca Antonelli
Section 4.4 Fabiano Ferrucci

Knowledge and understanding: the student must know the techniques of execution and evaluate the state of conservation of an ancient and contemporary building, reconstructing the causes and processes of material degradation.
Knowledge and comprehension skills applied: the student must be able to design and carry out restoration work in all its phases, to produce the related technical documentation, to draft a condition report, to manage the operations of handling and packaging of the works during the preparation and dismantling of temporary exhibitions.
Making judgments: the student must have the ability to analyze and critically solve operational problems, evaluating choices and solutions independently, based on the acquired skills and notions.
Communication skills: the student must be able to describe and discuss a restoration project in writing and orally, using clear language and a specific technical vocabulary.
Learning skills: starting from the cues provided during the lessons, the student will have to gain autonomy in research, in the organization of the topics of study and in the bibliographical examination.

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

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

Attendance

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

Course books

Section 4.1 - 4.2 Mariella Gnani

Preparatory texts for the exam

- Giovanna Cassese (a cura di), Il futuro del contemporaneo: conservazione e restauro del design, Roma, Gangemi, 2016.
- Maria Cristina Mundici, Antonio Rava (a cura di) Cosa cambia. Teorie e pratiche del restauro nell'arte contemporanea, Skira, Milano, 2013
- Oscar Chiantore, Antonio Rava, Conservare l’arte contemporanea. Problemi, metodi, materiali, ricerche, Electa, Milano, 2005.
- Paolo Cremonesi, Pierre-Antoine Héritier, Un approccio innovativo alla pulitura di superfici dipinte sensibili: la combinazione simultanea di erogazione controllata di liquido e micro-aspirazione, Saonara, Il prato, 2018.
- Mariella Gnani, La conservazione tra metodo e prassi nella Collezione Merlini, in Dalla figura alla figurazione nel 900 italiano, a cura di Stefano Cecchetto, Mariella Gnani, Milano, Silvana Editoriale, 2011, pp. 130-135.
- Mariella Gnani, Indagini conoscitive sulla tecnica esecutiva per la conservazione dell’opera “Teorema” di Fausto Melotti in Melotti Guarda Melotti, a cura di Alberto Salvadori con Mariella Gnani, Milano, Silvana Editoriale (Primo quaderno della Collezione Merlini), 2013, pp. 32-40.
- Mariella Gnani, L’intreccio tessile di Morandi, in Giorgio Morandi Roberto Longhi, opere, lettere, scritti, a cura di Maria Cristina Bandera, Milano, Silvana Editoriale (Secondo quaderno della Collezione Merlini), 2014, pp. 130-139.
- Mariella Gnani, Indagando la materia, in Ennio Morlotti dalla Collezione Merlini al Museo Morandi, a cura di Fabrizio d’Amico, Mariella Gnani, Milano, Silvana Editoriale (Terzo quaderno della Collezione Merlini), 2016, pp. 84-91.
- Mariella Gnani, Una breve riflessione: un punto di arrivo è anche un punto di partenza, in Una collezione italiana. Opere dalla Collezione Merlini, a cura di Mariella Gnani con Dario Dalla Lana, Milano, Silvana Editoriale (Quarto quaderno della Collezione Merlini), 2018, p. 249.
- Mariella Gnani, Le alchimie di Wildt, in Una collezione italiana. Opere dalla Collezione Merlini, a cura di Mariella Gnani con Dario Dalla Lana, Milano, Silvana Editoriale (Quarto quaderno della Collezione Merlini), 2018, pp. 250-255.
- Marina Pugliese, Tecnica mista. Com’è fatta l’arte del Novecento, Milano, Mondadori, 2012.

Sezione 4.3 Luca Antonelli

Preparatory texts for the exam
- Vittoria Cimino, Come si conserva un grande museo - l’esperienza dei Musei Vaticani, Città del Vaticano, ed. Musei Vaticani, 2016.
- Mauro Matteini, Arcangelo Moles, La chimica nel restauro, Firenze, Nardini Editore, 1989.
- Giovanni Urbani, Problemi di conservazione, Bologna, 1972.
- dispense fornite dal docente

Sezione 4.4 Fabiano Ferrucci

Preparatory texts for the exam
- AA.VV. Guida per il l’organizzazione di mostre d’arte, a cura della Direzione Generale per il patrimonio storico, artistico ed etnoantropologico, Roma, 2005. http://www.pabaac.beniculturali.it/opencms/opencms/ BASAE/sito-BASAE/mp/Servizi-on- line/Mostre-e-Iniziative/ Guida-per-lorganizzazione-di-mostre-darte/index.html
- AA.VV.Beni Mobili: la movimentazione delle opere d’arte, a cura di Maria Fratelli, Padova, Il Prato, 2017.

Further reading texts
- AA.VV. La sicurezza dei Beni Culturali nel trasporto, Atti del convegno, Ministero per i Beni e le Attività Culturali, Istituto Centrale per il Restauro, a cura di AA. VV., Roma, 1997.
- AA.VV. In & Out Guida pratica al prestito di opere d’arte, 2018. http://musei.beniculturali.it/wp-content/uploads/2018/12/IN-and-OUT-Guida-pratica-al- prestito-di-opere-darte-AXA-ART-Roma-2018.pdf
- Fabiano Ferrucci, Il ruolo della progettista nel restauro dei beni culturali, in Progetto Restauro, Trimestrale per la tutela dei beni culturali, n.52 autunno, 2009.
- Fabiano Ferrucci, Il cassone rinascimentale in pastiglia dorata della Galleria Nazionale delle Marche: ricerche e restauro, atti del convegno VII Congresso Nazionale IGIIC – Lo Stato dell’Arte 6 – Napoli, 8-10 Ottobre 2009, Saonara PD, p.p. 93-101 (con G.Terenzi, M.L.Amadori, A. Casoli).
- Ministero per i Beni e le Attività Culturali Standard museali, Atto di indirizzo sui criteri tecnico-scientifici e sugli standard di funzionamento e sviluppo dei musei (art. 150, comma 6, D.L. n. 112/1998) in Museologia Scientifica nuova serie 2007. http://www.anms.it/upload/rivistefiles/179.PDF
- Istituto Centrale per il Restauro e Opificio delle Pietre Dure, Restauro dei dipinti murali, su tavola, su tela, DEI tipografia del Genio Civile. 2007.
- Fabiano Ferrucci, La schedatura informatizzata dei dipinti esposti alla Galleria Nazionale delle Marche: conoscenza e monitoraggio del patrimonio culturale nell’ambito del progetto regionale “carta del rischio”, atti del convegno IV Convegno Nazionale IGIIC - Lo stato dell’arte 4 – Siena, 28-30 Settembre 2006, p.p.539-546, Siena, Santa Maria della Scala (con M.L.Amadori, G.Bernardini, M.Loreti, L.Mochi Onori).
- Fabiano.Ferrucci, Il controllo del microclima nelle gallerie dell’ottocento: Giuseppe Umberto Valentinis ed il governo razionale delle pinacoteche, in Il restauro dei dipinti nel secondo Ottocento, atti del convegno G.U.Valentinis ed il metodo Pettenkofer – Udine, 16-17 Novembre 2001, a cura di G.Perugini, 2002, p.p.81-94.

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.

ORAL EXAMINATION AND WRITTEN REPORT

To take any partial exam, the student must present a technical report of the activity carried out in the laboratory.

The paper must be sent via e-mail at least two weeks before the exam to the teacher and to the assistant.

The partial examination consists of an oral interview to be held with the teacher who is in charge of the section.

The oral exam will focus on:
- theoretical lessons and laboratory operations;
- bibliography provided by the teachers.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

Students who have not attended at least 75% of each laboratory section will not be allowed to take partial exams.