70747 - History and Theory of Restoration

Learning outcomes

At the end of the course the student will have a deep knowledge of historical and cultural events that led to the modern concept of restoration, through the investigation of episodes of particular significance from XV to XX century; therefore, the student will be able to understand the actuality through a critical severe analysis and to proceed with expertise in the field of preservation science because of the comparison with the evolution of the taste and the practices over the centuries. Finally, he/she will be able to recognize old and previous interventions of restoration in such a way to proceed safely to practical activities.

Course contents

Istitutional:

The istitutional part we will outline the basic features of the discipline through the investigation of the different theories and practices that have influenced the history of restoration and preservation of monuments and works of art from the Renaissance to the present day. The course focuses on the history and the theories of restoration in Italy and in Europe from the end of the XIXth Century to the end of the XXth Century, with particular attention on the advocates of these disciplines, such as John Ruskin, Eugène Emanuel Viollet le Duc, Alois Rigl, Cesare Brandi, Giulio Carlo Argan, Giovanni Urbani, Umberto Baldini, Alessandro Conti

Monographic:

All the lectures will be focused on a key theme such as conservation and preservation of mural art, with particular interest in the frescoes and sinopie to investigate, so called, Italian "Season of detachments" of mural paintings and discover its reflections for the history of Italian Museums. 

Readings/Bibliography

Istitutional:

M.CIATTI, Appunti per un manuale di storia e di teoria del restauro. Dispense per gli studenti, Firenze Edifir 2009;O. ROSSI PINELLI, Le teorie del restauro dalla Carta di Atene a oggi, Piccola Biblioteca Einaudi, Torino 2023; La cultura del restauro. Teorie e fondatori, a cura di S. CASIELLO, Marsilio, Venezia 1996.

Monographic:

Two critical essays chosen by the student between:

L. CIANCABILLA, Per una prima mostra storica degli estrattisti in L’incanto dell’affresco. Capolavori strappati da Pompei a Giotto, da Correggio a Tiepolo, catalogo della mostra, Vol. I, a cura di L. CIANCABILLA, C. SPADONI, Silvana editore, Cinisello Balsamo, 2014, pp. 29-72; S. RINALDI; Strappi preventivi in C. MAZZI (a cura di), Musei anni '50: spazio, forma, funzione, Edifir, Firenze 2009, pp. 185-226; L. CIANCABILLA, Cesare Gnudi e la salvaguardia degli affreschi: stacchi e strappi a Bologna fra allestimenti permanenti, restauri e mostre temporanee in C. GALASSI (a cura di), Critica d’arte e tutela in Italia. Figure e protagonisti del secondo dopoguerra, (atti del convegno, Perugia, Novembre 2015), Perugia 2017, pp. 323-338; L. CIANCABILLA, Falsi affreschi staccati fra Settecento e Novecento: per un catalogo storico-critico delle tecniche e degli autori e di una testimonianza ottocentesca del Museo Stefano Bardini in L. CIANCABILLA, C. GIOMETTI (curated by), Stefano Bardini “estrattista”. Affreschi staccati nell'Italia Unita fra antiquariato, collezionismo e musei, Pisa 2019, pp. 93-114; L. CIANCABILLA, Il mega-museo degli affreschi staccati di Firenze: genesi e riflessi di un progetto mai realizzato in “Il patrimonio culturale. Studies on the Value of Culturale Heritage”, n. 25, 2022, pp. 541-564; L. CIANCABILLA, “Sinopie e affreschi” sessant’anni dopo in G. PERUSINI, M. VISENTIN (a cura di), Restauro in Friuli dopo le due guerre mondiali. Opere e restauri tra gli anni Venti e gli anni Cinquanta del Novecento, Atti del Convegno, Udine 2023, pp. 53-68; L. CIANCABILLA, The removal of the cycles of frescoes between the 19th and 20th centuries: stacco and strappo vs museum installations, “Arte Medievale”, 2025, ser. 4, vol. 13, pp. 2-14.

Teaching methods

This course involves the use of slide presentations, through which students will be introduced to the visual knowledge of works and interventions of the past and of the present, continuously referring to and comparing theory and practice, from the origins to the present. As one of the purposes of this course is getting used to the direct visual examination of art works and artistic artefacts, we can use the hours of lessons visiting museums, sacred buildings, public and private collections, restoration laboratories and worksites.

Assessment methods

Oral examination on the institutional and monograph parts, including the use of images. A brief dissertation about the subjects discussed during the course.

The result of the exam will be: insufficient in case of linguistic and expressive deficiencies, as well as of missed or erroneous comment to the texts; sufficient in case of correct linguistic expression, possession of basic historic and artistic knowledge and understanding of subject in its chronological development; good in case of correct linguistic expression and knowledge of the texts and authors; excellent in case of excellent expressive ability, and in-depth knowledge of the texts and authors.

Teaching tools

• Color/black and white slides

• Visits to museums and public collections

• Visits to public and private restoration laboratories

• Visits to restoration work sites

 

Students who are affected by learning disability (DSA) and in need of special strategies to compensate it, are kindly requested to contact the Teacher, in order to be referred to the colleagues in charge and get proper advice and instructions.

Students with learning disorders and\or temporary or permanent disabilities: please, contact the office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students ) as soon as possible so that they can propose acceptable adjustments. The request for adaptation must be submitted in advance (15 days before the exam date) to the lecturer, who will assess the appropriateness of the adjustments, taking into account the teaching objectives.”

Office hours

See the website of Luca Ciancabilla