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:

In the first, will outline the basic features of the discipline through the investigation of the different theories and practices that have marked the history of the restoration and preservation of monuments and works of art from the Renaissance to our days. The courses focuses the history and the theories of restoration in Italy and in Europe from the end of the XIX th Century to the end of the XX th Century, with a particular attention to the protagonists of those disciplines, such as John Ruskin, Eugène Emanuel Viollet le Duc, Camillo Boito, Alfonso Rubbiani, Cesare Brandi, Giulio Carlo Argan, Giovanni Urbani, Umberto Baldini. 

Monographic:

All the lectures will be focused on a very important theme such as conservation and preservation of mural art, with particular interest to the frescoes and sinopie to investigate, so called, Italian "Season of detachments" of mural paintings and discover its reflexes in this present.

Readings/Bibliography

Institutional:

M.CIATTI, Appunti per un manuale di storia e di teoria del restauro. Dispense per gli studenti, Firenze Edifir 2009; H. JEDRZEJEWSKA, Principi di restauro, Opus, 1983; C. BRANDI, Teoria del restauro, Torino, Einaudi, 1977; Testi complementari consigliati: A. CONTI, Restauro, Jaca Book, Milano 1992, La cultura del restauro. Teorie e fondatori, a cura di S. CASIELLO, Marsilio, Venezia 1996; B. ZANARDI, Giovanni Urbani e Cesare Brandi. Due teorie a confronto, Skira, Milano 2009.C. BRANDI, Il restauro. Teoria e pratica, a cura di M. Cordaro, Editori Riuniti, Roma 1994.

Monographic:

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, Collezioni e collezionisti di affreschi staccati in Romagna ed in Emilia fra Settecento e Ottocento in B. Ghelfi e O. Orsi, Collezionismo d’arte in Romagna in Età Moderna, Ravenna, Dipartimento Beni Culturali, marzo 2016, Atti del convegno, Bologna 2018, pp. 265-275; 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.

 

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

Office hours

See the website of Luca Ciancabilla