Copy
Does diagnostics have a high added value?
In this issue :

 
Is there work in science for cultural heritage?

“The great beauty” for the TECHNART 2015 conference.


AN  UNFORGETTABLE (OUT)LOOK


Is there work in science for cultural heritage?


 In Ferrara to discuss the future of this discipline

During the next edition of the Restoration Fair in Ferrara, held from May 6-9, 2015, Art-Test will be present in a stand shared with partners and collaborators of AIAr (Italian Association of Archeometry) as well as at a meeting on Friday, May 8th, titled: "Are there jobs in science for cultural heritage? A network between research, business and government. "
The problem is strongly felt by the industry and by many who see in these disciplines an opportunity for growth for the protection of our cultural heritage, and also the scientific profile of a field where Italy has been for long a benchmark but is currently facing economic difficulties.
During this event the AIAr Network of companies will be presented, an initiative born last year to reduce the gap between institutions and companies, to promote cooperation, interoperability and joint research.
The meeting comes at the conclusion of a path where AIAr has been proposed as a reference point of a virtuous network of public and private entities operating in the cultural heritage sector, by promoting a program of meetings with companies, in order to increase the exchange of knowledge and expertise between the various players in the areas of diagnostics, conservation, enhancement and exploitation of cultural heritage and at the same time evaluate possible collaborations and joint projects.
We invite you to participate and support this initiative!


 
“The great beauty” for the TECHNART 2015 conference.




 Researchers from more than 50 nations met in Catania debating on advanced diagnostics for the works of art.


Different approaches to diagnostics and conservation of artworks, and new analytical methodologies were presented during a 3 day high level scientific international conference taking place in Sicily. These new devices mainly address the non-invasive study of original, restoration and degradation materials, targeting higher spatial resolution and the possibility to discriminate in depth. Many efforts are in fact made to know the stratigraphic sequence of the materials, in a non-invasive fashion.
New portable equipment is generally developed by research groups and not yet widely available, like Terahertz imaging, new spectrometers with high spatial resolution and the possibility to see at different depths in the artwork,  and integrated spectrometers (combining XRF-Raman or XRF-XRD ;. .). It became clear that, to date, the best possible approach is to integrate the available techniques, and also to assess their relative performance.
The case of a "Goya", mistakenly attributed by another laboratory because of a misidentification of the materials, gave us the opportunity, in this context, to talk about the limits and possibilities of the various techniques. The use of the most reliable methods is in fact a must: wrong assessment of the artist's palette, as in the case presented, can misplace the date of execution of centuries, greatly influencing its economic value ().
Faced with the amount of information that the most advanced techniques can provide nowadays, one more reflection shared between researchers, is certainly related to the need to compare data collected by the various laboratories in order to collect large-scale scientific evidence and better understand the results obtained for each specific case.
It is in line with this thinking the database of 100 paintings from the Pinacoteca di Siena "Under the gold" (http://www.art-test.com/it/database-it/), which was the topic of other contribution by Art-Test in collaboration with S.T.Art Test. An important tool for the study of evolution in Sienese painting (from the thirteenth to the sixteenth century) and for dating and authentication of works of art.
The international conference TECHNART 2015, was organized by the INFN-LNS departments, IBAM-CNR and the University of Catania (Department of Chemistry and Department of Physics and Astronomy) in collaboration with the group of scientific research of 'ICOM-CC and the Italian Association of Archaeometry (AIAr).


 

 AN  UNFORGETTABLE (OUT)LOOK

Caravaggio or not Caravaggio? A report on the 11th April Study Day





"The Mother of Caravaggio is always pregnant", is the title of a provocative pamphlet by Tomaso Montanari, meant to emphasize how often we talk about discoveries without the support of adequate research. This is not the case of the painting from Empoli, for which the accomplished restoration was the occasion for a study day on "From Caravaggio. The St. John the Baptist and its copies ", attended by a large number of eminent scholars, including Professor Mina Gregori.( She,  an undisputed authority in the field at the opening declared to be  very interested and to be ready to learn more. What an enviable vitality and what an exemplary attitude!)
The scientific research (performed by Art-Test) on the painting now in Empoli, one of the known variants of this St John subject, provided rather interesting results which show e,g, that in fact it is not a nineteenth century copy as some speculated,  but a seventeenth century artwork. Moreover, IR reflectography allowed visualizing some interesting “pentimenti”, for example in the look.
Conference proceedings are due in September, but the communications given at the workshop are already available on line (http://ilraccontodellarte.com/) (in Italian). The talk by Art-Test is also on our YouTube channel (https: // www.youtube.com/channel/UCh8hj11mXK5ut4ajsT8V7kA).
After the greetings of the authorities, with the debate moderated by Bruno Santi, and the introduction to the works by Prof. Mina Gregori, Nicole Mayers’ communication related on the events that led the painting now in the collection to Kansas City, while Cristina Terzaghi focused on the collection Costa. The communication by Angela Cerasuolo explained the technical characteristics of the artwork now in Capodimonte, while Valfredo Siemoni reported on the evidence collected about the provenance of the painting now in Empoli. Cristina Gnoni and Sandra Pucci explained the restoration works and stressed the importance of them in reestablishing discernibility to the artwork. After the report of Art-Test on materials and techniques employed, Roberta Lapucci focused on iconographic aspects while Marco Masseti, archozoologoo, concluded with an interesting overview of animal furs employed for the iconography of St John.



( photo by: Marcantonio Perugino)
Copyright © *|2015|* *|Art-Test sas|*, All rights reserved.
You are receiving this email because you are in our personal       
mailing contacts.     


Our mailing address is:
Art-Test Sas
Via del Ronco 12 - FlorenceIA 50125 - Italy

unsubscribe from this list    update subscription preferences