Start
9
Institutional introductions
13
Forewords
19
PART 1 – Case studies presentation and professional experiences
20
Case studies presentation and professional experiences on double
23
Session 1 - Tear mending on double-sided paintings
24
Basic Steps for Adhesion of Flaking Paint and Canvas
30
Double-sided paintings, typical problems, untypical solutions
37
The processional banner of Assunta di Savigliano and other cases
46
Conservation of regional heritage
48
Among the creases: morphology and identity of a decay
54
Restoration of a banner belonging to the church of San Lorenzo i
62
“New” suture techniques applied 36 years ago to two banners by B
72
Sustainability in structural paintings conservation
82
A large processional banner: preservation of its status using a
94
Umbrian processional banners, double-sided paintings
109
Session 2 - Mechanical properties and stretching of double-sided
110
The supports for double-sided paintings
120
Towards a global “double face” policy
128
The importance of pre-tensioning in the operational phase
137
PART 2 - expert meetings: A shared experience for the scientific
138
Expert Meetings: a shared experience for the scientific communit
141
Session 1 - Tear mending on double-sided paintings
142
The banner by Procaccini at the Pinacoteca di Brera
152
The banner by Giulio Cesare Procaccini
164
Training in the project “Structural treatments on double-sided p
168
“Will it hold?” About the single thread bonding technique
200
Conservation of paintings on canvas in the OPD Laboratories
208
Agnolo Bronzino’s Morgante Nano:“un dipinto a due dritti”
218
Edge-to-edge sutures
227
Session 2 - Mechanical properties and stretching of double-sided
228
A quantitative review of tensions affecting tear repair decision
233
An introduction to mechanics and the Giulio Cesare Procaccini do
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ESPAñOL
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cover

Structural treatments on double-sided paintings

ISBN: 978-88-6373-858-2

The “Structural treatments on double-sided paintings” project is part of the “Conserving Canvas” initiative funded by the Getty Foundation. By joining this Programme, we have drawn on important testimonies from the highly qualified and prestigious museums, research centres and cultural institutions that preceded us. We are particularly honoured by this great opportunity offered to us by the Getty Foundation, which we sincerely thank.
The proposed training project was developed starting from an extremely complex case study: the conservation treatment of a banner painted on both sides by Giulio Cesare Procaccini owned by the Pinacoteca di Brera. Once underway, the collaboration was an opportunity to enjoy a new synergy between our institutions, and I must thank Director Bradburne and all the staff of the Museum for having believed in this project.
A special thanks goes to all the conservators and professionals who, together with us, have taken up a small challenge offered by digital technology: opening these events up to our entire scientific community, and welcoming those who would otherwise have been excluded. For this I thank Matteo Rossi Doria who collaborated in building this important network of relationships and, first and foremost, the Director of our Laboratories, Michela Cardinali, for the foresight shown and for being the driver and beating heart of this project.
Last but not least, I would like to thank the whole community of conservators, professionals and students who, together with us, have followed the Project, and whose active and numerous attendance confirms how worthwhile and valid the new path that the Centre has chosen to take is.
244 pages

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