C9281 - STORIA DEL RESTAURO E DELLA CONSERVAZIONE DELLE OPERE D'ARTE

Learning outcomes

This course studies the history and theory of restoration and conservation techniques. At the end of the course, students will have in-depth knowledge of the history and theory of restoration; will be able to recognize the operations and proceedings of restorations made in the past; will be able to determine the relationship between material and image in works of art; will be able to develop a critical approach to the science of conservation of cultural heritage objects; will be able to collaborate with other experts in the restoration sector, such as restorers, scientists and art historians for routine and innovative interventions.

Course contents

The course aims to provide students with the fundamental principles of the discipline through an examination of the principal approaches and practices that have shaped the history of the restoration and conservation of works of art from the Renaissance to the present day. The lectures will focus in particular on the relationship between art history and restoration, highlighting the role of the art historian in the study, interpretation, and critical assessment of restoration interventions in relation to the evolving history of taste.

The monographic section of the course will be devoted to Alessandro Conti, a leading figure in the establishment of the History of Restoration as an academic discipline during the last quarter of the twentieth century. Particular attention will be paid to some of the most significant aspects of his critical thought: his concern for the material nature of the work of art as a document of human history; his conviction that painting and sculpture must be understood through direct experience based on the indispensable primacy of visual observation and empirical inquiry; the relationship between photography and restoration; the critical debate surrounding conservation treatments; and the very notion of what constitutes a "good" or "bad" restoration. These themes will be explored through a close reading and analysis of Conti's most significant writings, placing his ideas in constant dialogue with contemporary issues and current debates in the field.

Readings/Bibliography

Istitutional:

H. JEDRZEJEWSKA, Principi di restauro, Opus, Firenze, 1983; A. CONTI, Restauro, Jaca Book, Milano 1992 or A. CONTI (a cura di), Sul restauro, Einaudi, Torino, 1988; A. CONTI, Michelangelo e la pittura a fresco. Tecnica e conservazione della Volta Sistina, Firenze 1986.

Monographic:

Choose two essays from the following R.LONGHI, Problemi di lettura e problemi di conservazione, prefazione a A. CONTI, Storia del restauro e della conservazione delle opere d'arte, Electa, Milano 1973, pp. 3-17; M. FERRETTI, La storia del restauro e il mestiere dello storico dell’arte. Da Alessandro Conti a Roberto Longhi in M. B. FAILLA, S. MEYER, C. PIVA, S: VENTRA (a cura di), La cultura del restauro. Modelli di ricezione per la museologia e la storia dell’arte (Atti del Convegno di Studi, Roma, 18-20 aprile 2013), Roma 2013, pp. 555-68; M. FERRETTI, Un rapporto sereno fra materia e immagini in A. CONTI, Storia del restauro e della conservazione delle opere d'arte, Milano, ELECTA, 2002, pp. 367-375; J. BECK con M. DALEY, Restauri. Capolavori e affari, Firenze 1993.

One essay selected from the following  L. CIANCABILLA, Del distacco dei “graffiti” in L. CIANCABILLA, C. OMODEO, S. CORCORAN (a cura di), Street art. Banksy & co. L’arte allo stato urbano, catalogo della mostra, Bologna, Genus Bononiae. Museo della città di Bologna, Bologna 2016, pp. 17-25; L. CIANCABILLA, Fotografare o musealizzare l'Arte Urbana. Il grigio di Blu e la sua nemesi in L. CIANCABILLA, G. TUSINI (a cura di), Oltre il grigio. Conservare, musealizzare e restaurare l’Arte Urbana fra tradizione e memoria, BUP, Bologna 2019, pp. 75-102; L. CIANCABILLA, I cieli del polittico Griffoni: il facsimile fotografico come strumento di mimesi della materia e indagine degli interventi di restauro in M. NATALE (a cura di), Il polittico griffoni. Un dono per la città, atti convegno (Bologna, Palazzo Pepoli, ottobre 2020), Minerva editore, Bologna 2021, pp. 145-158; L. CIANCABILLA, 1930-1990: I cieli della Loggia di Psiche come paradigma della teoria e della pratica del restauro del Novecento in D. BENATI, S. CAVICCHIOLI, S. COSTA, M. FAIETTI (a cura di), Raffaello. Mito e percezione, atti del convegno (Bologna, DAR, 9-11 giugno 2021), Bologna 2021, pp. 81-98.

Teaching methods

Teaching will consist of lectures delivered in an interactive format that encourages discussion with students. Classes will take place both in the classroom and on site at venues housing works of art.

The course will make extensive use of PowerPoint presentations to introduce students to the visual analysis of works of art and to foster a continuous dialogue between theory and practice, from their historical origins to the present day. Since one of the principal aims of the course is to develop students' ability to examine works of art through direct observation of their material fabric, visits to museums, churches, public and private collections, conservation sites, and restoration workshops in Ravenna, Bologna, Florence, and Rome form an integral part of the teaching programme.

Assessment methods

The oral examination requires knowledge of all the assigned readings and also assesses the student's critical thinking, presentation skills, and ability to develop coherent and well-structured arguments. 

During the oral examination, the professor may use images as part of the assessment. The oral examination requires knowledge of the assigned readings and also assesses students' critical thinking, presentation skills, and ability to develop coherent and well-structured arguments. Students wishing to take the oral examination must register through the relevant AlmaEsami page and are required to prepare the entire syllabus. Students who have prepared only part of the course programme will not be admitted to the oral examination.

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 knowledges 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.

The syllabus and examination requirements are as outlined above. Students who require further clarification are encouraged to contact the professor by email and to attend office hours. The professor will also be available to answer students' questions at the beginning and end of each class.

Students who are unable to attend classes regularly are required to arrange an alternative reading programme with the professor.

With regard to the assessment of learning outcomes, the limited, declared, and non-substantive use of artificial intelligence (AI) is permitted for support activities, such as summarising and rephrasing. The substantive use of AI to complete any part of the assessment is not permitted.

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