阿里斯蒂德·萨托里奥在意大利议会众议院修复弗里兹

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Conservation Science in Cultural Heritage Pub Date : 2020-03-18 DOI:10.6092/ISSN.1973-9494/10346
Gianluigi Colalucci, D. Bartoletti
{"title":"阿里斯蒂德·萨托里奥在意大利议会众议院修复弗里兹","authors":"Gianluigi Colalucci, D. Bartoletti","doi":"10.6092/ISSN.1973-9494/10346","DOIUrl":null,"url":null,"abstract":"In 1897, the architect Ernesto Basile was commissioned to design the new Chamber in the Italian Parliament. Basile visualised a long painted frieze crowning the Chamber. The assignment was given to the painter Aristide Sartorio who executed it between 1908 and 1911. The frieze is 105 meters long, 3.75 high, and consists of 50 panels painted on canvas. In 1998 the frieze was examined closely and several problems regarding its state of conservation became evident, such as the loss of elasticity of the canvas and the widespread tendency of the paint film to become detached. In order to study the problem and plan the restoration for the entire frieze, it was decided to do a pilot restoration on only one of the 50 panels. The restoration was carried out in an equipped environment inside the Parliament, during the period 2003- 2004. Based on the studies carried out over the two years, it was possible to plan the restoration of the entire frieze, which was completed in one year: from 2006 to 2007. The panels were taken to a Roman studio exclusively dedicated to this restoration. It was not possible to do the restoration in situ as it would have created a disturbance in the working of the Parliament. The panels painted by Sartorio with a particular technique based on oil and wax, were treated with BEVA 371, reactivated with heat using a flat, low pressure table, and with a heated curved low pressure table specially designed by us. Using the same system and cloth bands, the edges of the panels were reinforced and then placed on their original frames. Finally, the veil of greasy particulate matter that had deposited over a century was removed. The restoration, directed by the Architectural Superintendency of Rome, was preceded and accompanied by numerous scientific research studies on the colors, canvas, color medium, wood and microclimate of the frieze. An extensive detailed color photographic documentation recorded all the phases of the restoration.","PeriodicalId":42483,"journal":{"name":"Conservation Science in Cultural Heritage","volume":"1 1","pages":"99-115"},"PeriodicalIF":0.1000,"publicationDate":"2020-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Restoration of the Frieze by Aristide Sartorio in the Chamber of Deputies of the Italian Parliament\",\"authors\":\"Gianluigi Colalucci, D. Bartoletti\",\"doi\":\"10.6092/ISSN.1973-9494/10346\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In 1897, the architect Ernesto Basile was commissioned to design the new Chamber in the Italian Parliament. Basile visualised a long painted frieze crowning the Chamber. The assignment was given to the painter Aristide Sartorio who executed it between 1908 and 1911. The frieze is 105 meters long, 3.75 high, and consists of 50 panels painted on canvas. In 1998 the frieze was examined closely and several problems regarding its state of conservation became evident, such as the loss of elasticity of the canvas and the widespread tendency of the paint film to become detached. In order to study the problem and plan the restoration for the entire frieze, it was decided to do a pilot restoration on only one of the 50 panels. The restoration was carried out in an equipped environment inside the Parliament, during the period 2003- 2004. Based on the studies carried out over the two years, it was possible to plan the restoration of the entire frieze, which was completed in one year: from 2006 to 2007. The panels were taken to a Roman studio exclusively dedicated to this restoration. It was not possible to do the restoration in situ as it would have created a disturbance in the working of the Parliament. The panels painted by Sartorio with a particular technique based on oil and wax, were treated with BEVA 371, reactivated with heat using a flat, low pressure table, and with a heated curved low pressure table specially designed by us. Using the same system and cloth bands, the edges of the panels were reinforced and then placed on their original frames. Finally, the veil of greasy particulate matter that had deposited over a century was removed. The restoration, directed by the Architectural Superintendency of Rome, was preceded and accompanied by numerous scientific research studies on the colors, canvas, color medium, wood and microclimate of the frieze. An extensive detailed color photographic documentation recorded all the phases of the restoration.\",\"PeriodicalId\":42483,\"journal\":{\"name\":\"Conservation Science in Cultural Heritage\",\"volume\":\"1 1\",\"pages\":\"99-115\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2020-03-18\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Conservation Science in Cultural Heritage\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.6092/ISSN.1973-9494/10346\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Conservation Science in Cultural Heritage","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.6092/ISSN.1973-9494/10346","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1

摘要

1897年,建筑师Ernesto Basile受命设计意大利议会的新会议厅。巴西勒想象了一幅长长的彩绘楣饰装饰着大厅。这幅画的任务交给了画家阿里斯蒂德·萨托里奥,他在1908年至1911年间完成了这幅画。横楣长105米,高3.75米,由50块画在帆布上的面板组成。1998年,人们对这幅画进行了仔细的检查,发现了一些关于其保存状况的问题,比如画布失去弹性和漆膜普遍脱落的趋势。为了研究问题并规划整个楣板的修复,决定只对50块面板中的一块进行试点修复。2003年至2004年期间,修复工作在议会大厦内设备齐全的环境中进行。根据两年多来进行的研究,可以计划整个楣板的修复,这是在一年内完成的:从2006年到2007年。这些面板被带到专门用于修复的罗马工作室。在原地修复是不可能的,因为它会对议会的工作造成干扰。由萨托里奥用一种基于油和蜡的特殊技术绘制的面板,用BEVA 371处理,使用扁平的低压台加热,并使用我们专门设计的加热弯曲低压台重新激活。使用相同的系统和布带,面板的边缘被加固,然后放置在原来的框架上。最后,沉积了一个多世纪的油腻颗粒物质的面纱被揭开了。在罗马建筑监督的指导下,修复工作在之前和伴随进行了大量关于中楣的颜色、画布、颜色介质、木材和小气候的科学研究。大量详细的彩色照片记录了修复的所有阶段。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Restoration of the Frieze by Aristide Sartorio in the Chamber of Deputies of the Italian Parliament
In 1897, the architect Ernesto Basile was commissioned to design the new Chamber in the Italian Parliament. Basile visualised a long painted frieze crowning the Chamber. The assignment was given to the painter Aristide Sartorio who executed it between 1908 and 1911. The frieze is 105 meters long, 3.75 high, and consists of 50 panels painted on canvas. In 1998 the frieze was examined closely and several problems regarding its state of conservation became evident, such as the loss of elasticity of the canvas and the widespread tendency of the paint film to become detached. In order to study the problem and plan the restoration for the entire frieze, it was decided to do a pilot restoration on only one of the 50 panels. The restoration was carried out in an equipped environment inside the Parliament, during the period 2003- 2004. Based on the studies carried out over the two years, it was possible to plan the restoration of the entire frieze, which was completed in one year: from 2006 to 2007. The panels were taken to a Roman studio exclusively dedicated to this restoration. It was not possible to do the restoration in situ as it would have created a disturbance in the working of the Parliament. The panels painted by Sartorio with a particular technique based on oil and wax, were treated with BEVA 371, reactivated with heat using a flat, low pressure table, and with a heated curved low pressure table specially designed by us. Using the same system and cloth bands, the edges of the panels were reinforced and then placed on their original frames. Finally, the veil of greasy particulate matter that had deposited over a century was removed. The restoration, directed by the Architectural Superintendency of Rome, was preceded and accompanied by numerous scientific research studies on the colors, canvas, color medium, wood and microclimate of the frieze. An extensive detailed color photographic documentation recorded all the phases of the restoration.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Conservation Science in Cultural Heritage
Conservation Science in Cultural Heritage HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
0.00%
发文量
0
审稿时长
15 weeks
期刊介绍: Conservation Science in Cultural Heritage is an international peer reviewed journal which continues Quaderni di Scienza della Conservazione. Main topics of publication: • Study of the system: artifact-environment-biota • Historical-artistic knowledge of cultural heritage (i.e. author, art movement, period of realization, techniques, society and cultural characteristics, socio-economic context, commissioning, financing, interested public) • History, diagnosis, restoration, maintenance, conservation, valorization, prevention • Document research • Book, codex, and manuscript production in its historical context • Appropriate methodologies and analytical techniques used for the characterization of historical artifacts and evaluation of the conservation state • Environmental monitoring: assessment of atmospheric pollution and correlated degradation of monuments and historical-artistic sites • Micro and macroclimatic monitoring in confined areas (i.e. museums, libraries, archives, churches, galleries…) • Art diagnostics and evaluation of the authentication of art works • Art market and auction houses • Experiences in cultural heritage conservation • Evaluation of the suitability of products for restoration, conservation, and maintenance of works of art • Information science and cultural heritage: data processing and cataloguing methods • Virtual re-elaboration and use of historical artifacts and environments • Study, valorization and digitalization of archive and library heritage • Environmental context and technical-conservative issues related to historic architecture • Virtual or traditional conservation, cataloguing and processing of photographs • Various other topics including education, safeguard, education, legislation, economics, social aspects, management, marketing, interdisciplinarity, internationalization, etc.
期刊最新文献
Case Studies III: Analytical Data Which Have Revealed That a Significant Revision Is Required to the Historical Knowledge of Porcelain Manufactories (Part B) Challenges for Analytical Science (Case Studies IV) Case Studies I. Analytical Data Which Have Materially Contributed Towards the Factory Attribution of Porcelain Specimens Types of Porcelain and Their Elemental Oxide Compositions Chinese Porcelains and their Early European Competitors
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1