STEAMplant Application
Project Title
“Time traveling through art, materials and technology: Replicating the Garden Fresco of the House of the Golden Bracelet, Pompeii “
Name and contact information of residents
Gary Cullen, MFA, Painting Pratt Institute 2005
71-41 8th Street, Ridgewood, New York 11385 [email protected], (330) 704-4879
Katelin Fallon, MS, History of Art and Design: Pratt Institute 2013
1012 Urban Avenue 919.451.0690 Durham, NC 27701 [email protected] (919)-451-0690
Name and contact information of the faculty member from Pratt Institute’s Mathematics and Science and time commitment
Prof. Eleonora Del Federico , [email protected]
Committed to 10 hours per week. Prof. Del Federico main responsibilities will involve coordinating the project, exhibit and publication and advising the residents along with Prof. Diana Gisolfi from History of Art and Design, with whom she has collaborated on teaching and research about artists’ materials for the last 15 years.
Name and contact information of the faculty member from the other department at Pratt Institute and time commitment
Prof. Diana Gisolfi, History of Art and Design, [email protected]
Committed to 10 hours per week, Prof. Gisolfi along with Prof Del Federico will coordinate the project and will also advise the residents in the Art Historical context of the project.
Describe the type of interdisciplinary work to be carried out including the roles and responsibilities of each project member
In this project we will replicate, on a wall at Pratt Institute, a fresco painting found at the house of the Gold Bracelet, in Pompeii. The house, which receives its name from the body of a woman wearing a gold bracelet found at the house, was buried by the eruption of Mount Vesuvius in 79 CE. The twenty feet of lava, which covered the house for almost 2000 years, ensured its preservation and today we can still see the painting in great detail and in bright colors (See figure 1). However, this specific fresco painting has been removed from its original setting: an outdoor dining room (triclinium) and it is now glued to a canvas and travelling the world in exhibits. We would like to return the fresco painting to its original framework, context and function: “A wall in an outdoor room which provided the illusion of the extended garden with life-size flowers, plants and birds. It was customary for the Romans to paint outdoor frescoes some of which would give the illusion of a larger garden, creating a peaceful and cool atmosphere to rest and share with family and friends during hot summer days. The interdisciplinary work lies then in the following:
1) The Chemistry of the materials of fresco painting a (directed by Prof. Del Federico, a chemist) 2) The artist’s technique and execution of the painting, executed by Gary Cullen, a painter experienced in Fresco painting 3) The art history of the painting, its relationship to its architecture and the everyday life of their dwellers (directed by Katelin Fallon, an Art Historian with field experience in the study and analysis of Roman Frescoes under the supervision of Art History Professor, Diana Gisolfi)
The fresco painting technique involves the “cementation” of the pigment particles into the wall through the chemical reaction between the “fresh” lime plaster and carbon dioxide in the air. Because the pigment particles are trapped within the wall, the fresco technique is one of the most durable and resilient. Mock samples will be prepared to test pigments and expose them to the outdoors to test durability before the fresco painting is performed. Fresco paintings have an intimate relationship to their architecture, it imparts a specific objective or function to a room. In Roman times, the house dwellers had their rooms decorated with scenes they were found of, and would choose the quality of the materials and pigments depending on their financial possibilities. For example, this specific fresco not only creates the illusion of a larger garden but also it shows that the house dwellers were fond of theater because of the presence of theater masks in the painting itself. The fresco was also executed with expensive pigments such as cinnabar, and high quality Egyptian Blue which means that they had commissioned the artist to use the best quality materials.
Figure 1: Portion of the Garden Fresco painting we will reproduce
2. Identify a target audience and explain how, as part of the project’s output, the project will engage that audience
Our target audience is two fold
a) The academic audience interested in how Materials and Art History connect with each other and how replicating fresco paintings from scratch using the pigments and mortars dating to 2000 years ago can teach us more about the artist, how he/she worked and the people who commissioned it. In addition, monitoring the fresco through time will allow us to understand and follow up its degradation
b) The public who will learn how materials and art techniques teach us about ancient cultures and their technology. Moreover, focusing in Ancient Pompeii, frozen in time due to the volcanic eruption and the specific house of the Gold Bracelet adds a touch of time-traveling feeling to the audience as we can still find, not only the house itself as it was in its original setting but also its dwellers: women, men and children.
The project will include an exhibit of the work showing the materials used, chemical composition but will also the include the history of Pompeii, the eruption of Mount Vesuvius, maps and images of the house, the location of the fresco reproduced and introduce the audience to the people who were found in the house at the time of excavation, some of who still are on site, like the body of the child who perished going down the stairs seen if figure 2.
Figure 2: Cast of the body of a child who died while trying to escape to the lower floors down the stairs
Define the outcomes you would like to realize, including how these outcomes relate to working at the interface between art/design and math/science
Final product is three fold:
o Creating a replica of a fresco painting prepared as it looked 2000 years ago with its original materials— o An exhibit describing the chemistry of fresco painting and its materials, how it degrades with time, history of Pompeii and this specific house and their people, the function of the painting within the room and the house, why the actual pigments chosen- (expensive ones)— o A publication targeted to the general public about how the art history and the chemistry of artists’ materials, techniques, and a natural disaster which froze a city for 2000 years, can teach us something about the people every-day lives, their social status and their preferences in terms of arts and culture (theater masks show that the owners were interested in theater)
3. Outline a method to assess the success of your project
1. Have we attracted a larger number of students interested in Chemistry of Artists’ Materials? 2. Have we attracted the Pratt community and the general public and made them aware the importance of materials in the understanding of art and art history and how materials can teach us about people and their society? A questionnaire will be handed in during the exhibit that will allow us to assess this in a measurable way.
4. Develop a timeline of your project. 1. January 2019- February 2019-Ordering of the materials and research about the house of the golden bracelet and Pompeii 2. March 2019-April 2019 setting up scaffolding and preparing the wall with several layers of lime mortar 3. May 2019- August 2019- painting of the wall 4. August-October 2019-Article writing and preparation of Exhibit 5. November 2019- Opening of the exhibit: “Time traveling through Art, Materials and Technology: Pratt’s Replica of the garden fresco at the house of the Golden Bracelet, Pompeii”
5. Project budget 1. Materials (pigments, lime mortar) $ 1000
We already have many of the materials required (scaffolding, chisels, trowels, etc) because of the class Chemistry of Fresco painting which has been running for more than a decade. Our fresco wall can be seen in the main building near the PI coffee shop.
2. Gary Cullen’s compensation: 2,000 3. Katelin Fallon’s compensation: 2000 4. Travel for Katelin: 1000 (Katelin has housing in NYC, we are providing her with travel funds) 5. Exhibit and publication $1500
6. CVs/resumes of all project participants
Gary F. Cullen 71-41 68th Street, Ridgewood, New York 11385 [email protected] (330) 704-4879 ______Education: 2003-2005 MFA, Pratt Institute 1998-2003 BFA, Kent State University ______Professional Experience: 2018-present Fresco Painting Consultant,, Pratt Institute, Brooklyn, NY 2017-present Director of Technician Services, Atelier 4 inc., Long Island City, NY 2011-2016 Lead Technician, Atelier 4 inc. Long Island City, NY 2006-2011 Art Handler. Atelier 4 Inc,, Long Island City, NY 2005-2009 Visiting Professor of Chemistry in Art, Pratt Institute, Brooklyn, NY 2005 Cabinet Building Assistant, MBDA, Brooklyn, NY 2004-2005 Graduate Assistant / Laboratory Assistant Chemistry in Art, Pratt Institute, Brooklyn, NY 2003 Graduate Assistant Art History II, Pratt Institute, Brooklyn, NY 2003 Office Assistant, Pratt Institute, Brooklyn, NY 1999-2000 Lab Assistant, Computer Based Art, Kent State University Canton, OH _.______Skills: Working knowledge and experience of art installation, gallery preparation, woodworking, fresco chemistry, and painting process techniques. ______Conference Presentations: 2005 230th American Chemical Society Meeting, “New Developments in the teaching of Chemistry at the Art/Art History Interface”, E. Del Federico, G F.Cullen, J-J.Ai, A Jerschow, Abstract 124 .______Selected Exhibitions: + (Solo Exhibitions) 2017 The Emotional States of America, Artbition, Miami, FL 2017 Art Video International Festival, Jerusalem, Israel 2016 Party in the Back, Blum and Poe Gallery, Los Angeles, CA 2015 Fast/Quiet/Loud/Slow, Dress Shop Gallery, Brooklyn, NY 2015 SIA NY Presents, SIA NY, New York, NY 2014 Pyramid, English Kills Gallery, Brooklyn, NY 2013 The LSD Show, Calico Gallery, Brooklyn, NY 2011 I Can’t Hear the Revolution, Kunsthalle Galapagos, Brooklyn, NY 2009 Make a Mark of These Lines, BETA Spaces, Brooklyn, NY 2009 The Becoming, Sanctuary of Hope, Brooklyn, NY 2009 Forever Summer, Platform Gallery, New York, NY 2008 The Awakening, Sanctuary of Hope, Brooklyn, NY 2008 The Revival, Sanctuary of Hope, Brooklyn, NY 2007 Vernon Equinox, Texas Firehouse Gallery, Long Island City, NY. 2006 Northern Bound, Gallery Boreas, Pittsfield, MA 2005 How Close are We, Endless International Gallery Shanghai China. 2005 Summer Solstice, Gallery Boreas, Brooklyn, NY 2005 Gary F. Cullen “Nature of the Beast” Pratt institute, Brooklyn, NY 2005 Gallery 312 group show New York, NY
2005 Point of Departure prat artist league, Brooklyn,NY 2004 Zc Concert Series, ZONE: Chelsea Center for the Arts, New York, NY 2004 MFAs’ Colliding, Pratt Institute / NYU, Manhattan & Brooklyn NY 2004 Pratt Institute: Graduate students Exhibition, Pratt Institute, Brooklyn, NY 2003 Pratt Institute: Graduate students Exhibition, Pratt Institute, Brooklyn, NY 2003 Gary F. Cullen Tools of the Trade, A-Space Gallery, Akron OH 2000 Gary Cullen, Kent State University, Canton OH 2000 Stark County Local Artists Exhibition, Massillon Museum of Art, Massillon, OH 1999 Stark County Local Artists Exhibition, Massillon Museum of Art, Massillon, OH ______References available upon request
KATELIN S. FALLON [email protected] 1012 Urban Avenue 919.451.0690 Durham, NC 27701
EDUCATION Pratt Institute: Masters of Science, Aug. 2010 – Dec. 2013 Concentration: Art and Design History Thesis: “The House of the Neptune and Amphitrite Mosaic in Herculaneum: A Historical and Scientific Analysis of In-situ Wall Paintings” Coursework: Conservation and Preservation, Scientific Methods in Art Conservation, Aegean and Greek Art History, Roman Art History, Dada and Surrealism. Scholarships: Received the Itzhak Friedman Scholarship in Chemistry for the Arts, Academic year 2012 -2013
University of North Carolina at Chapel Hill Bachelor of Arts, Aug. 2006 – June 2009 Major: Geography Secondary: Environmental Studies
King’s College London Study Abroad Program, Jan. - June 2007 Studied Black and Red Greek Figure Pottery, Political Economy of Hazardscapes
George Washington University Aug. 2004 – May 2006 Recruited as a Division 1 athlete and received the Presidential Academic Scholarship.
CERTIFICATE PROGRAMS 3RD IPERION-CH, Doctoral Summer School, Ravenna, Italy July 16 - 20, 2018 A multiple course program focused on connecting all of the disciplines in the field of Heritage Science, using campuses and facilities throughout Europe that provide access to either mobile or fixed laboratories (MOLAB and FIXLAB) or archives (ARCHLAB). These laboratories help connect researchers, further research, and improve researching methods. The courses include explanations of these ‘LABs’ as well as important and new research happenings in the field of Heritage Science.
Ecole francaise de Roma Advanced Training Workshop The Study of Ancient Frescoes, Tivoli, Italy June 4 - 22, 2018 Wall painting excavation, conservation/restoration, and digital reconstructions of wall and ceiling paintings in the Macchiozzo in the Villa Adriana, Italy.
CONFERENCE & SYMPOSIUM PARTICIPATION Pratt Institute’s Science and Art Symposium V “Science at the Interface of Artists’ Materials, Techniques and Conservation” Paper Presentation, Brooklyn, New York, April 18-19, 2018. Paper topic: “Reconstruction of the Wall Paintings of the House of the Neptune and Amphitrite Mosaic.”
International Conference “Colours 2015: Bridging Science with Art,” Paper Presentation, Evora University, Evora, Portugal, September 24-26 2015. Paper topic “Reconstruction of the Wall Paintings of the House of the Neptune and Amphitrite Mosaic.”
Pratt Institute’s Math and Science Departments “Chemistry for the Arts: Pompeii and Herculaneum,” Paper Presentation, Brooklyn, New York, April 22 2015. Paper topic: “Reconstruction of the Wall Paintings of the House of the Neptune and Amphitrite Mosaic.”
Pratt Institute’s Science and Art Symposium IV “The Science of Artist’s Materials, Techniques, and Conservation,” Paper Presentation, Brooklyn, New York, April 2-4 2014. Paper topic: “Reconstruction of the Wall Paintings of the House of the Neptune and Amphitrite Mosaic.”
2nd International Congress of Chemistry for Cultural Heritage, Poster Presentation, Istanbul Turkey, July 8, 2012 – July 11, 2012. Poster Title “An in-situ, non-invasive XRF and Reflectance FTIR investigation of the wall paintings and mosaics at the House of the Neptune and Amphitrite Mosaic, Herculaneum.”
WORK EXPERIENCE The Nasher Museum of Art at Duke University, Visitor Services Representative, Durham, NC Sept. 2015 – Nov. 2016 Receive museum visitors, ticket sales, run cash register, balance drawer at opening and closing, field museum questions, answer phone calls, help visitors register for memberships.
Ampere Summer School, Conference Committee Assistant, Volterra, Italy June 12 – 15, 2013 Conference in “Analyzing Cultural Heritage using Portable Magnetic Resonance,” assisted with event correspondence, filming/photographing demonstrations with the Portable Magnetic Resonance.
Pratt Institute, Graduate Teaching Assistant, Brooklyn, NY Aug. 2010 – May 2012 Teaching Assistant for ‘Survey of Art: 19th Century’ and ‘Survey of Art I,’ graded papers and exams, maintained attendance.
INTERNSHIPS, VOLUNTEER WORK, APPRENTICESHIPS Volunteer, Institute of Nautical Archaeology Conservation Lab at Bodrum, Turkey May – July & Sept. – Dec. 2013 Assisted with archaeological conservation tasks such as cleaning amphora shards, reconstructing amphorae, removing wax and cleaning treated wood beams from shipwrecks, and painting conservation of amphorae.
Graduate Intern, Columbia University Libraries Conservation Program, Manhattan, NY Jan. 2012 – May 2012 Used a variety of conservation techniques to work on paper-based materials. Repaired page tears, built book cradles, did chemical clean-up of books, made book-bindings, helped with the digitization of archives.
SKILLS ● Proficient in Windows and Mac OS programs, QuickBooks, Microsoft Office, Adobe Photoshop and Illustrator, ESRI experience for GIS mapping, small grant proposal drafting. ● Visible Induced Luminescence (VIL) ● Portable X-Ray Fluorescence Spectroscopy (XRF) ● Trained oil, watercolors and acrylic painter, and mosaic artist.
ELEONORA DEL FEDERICO
Professor of Chemistry
Department of Mathematics and Science
Pratt Institute
Brooklyn, NY 11205
PHONE: 718-636-3764
EMAIL [email protected]
PROFESIONAL PREPARATION
PhD, Biophysical Chemistry, University of Massachusetts at Amherst, 2000 MS/BS in Analytical Chemistry, University of Buenos Aires, Argentina, 1991
PROFESIONAL APPOINTMENTS
Co-Director: Center for Research in Art and Design Materials, Pratt Institute July 1st 2018-present Professor of Chemistry, 2010-present, Pratt Institute, Brooklyn, NY Associate Professor of Chemistry (with tenure), 2006- 2010, Pratt Institute, Brooklyn NY Director of the Mobile Laboratory for the Scientific Study of Art, 2008-present, Pratt Institute, Brooklyn, NY. 2006-2007 Alfred W. Mellon Fellow in Conservation Science, The Metropolitan Museum of Art, Department of Scientific Research, September 2006-September 2007 Research Associate, New York University, Chemistry Department: 2003-present. Assistant Professor of Chemistry, 1999-2006. Pratt Institute, Brooklyn NY.
SELECTED PRESENTATIONS
Picta Fragmenta, Revisiting the Vesuvian Painting, Naples Museum, Italy: “Non invasive, multi- analytical studies of the materials, techniques and stratigraphy of wall paintings at Herculaneum” September 12- 15, 2018 Pratt Science and Art Symposium V: Revealing an Ancient Roman Portrait through XRF tomography. April 18-19th 2018
RWTH Aachen University, Aachen Germany, “Macro XRF of wall paintings at Herculaneum” April 19th, 2017
146th American Chemical Society Meeting, Washington DC “Portrait of an ancient woman revealed by Macro XRF”, August 21st, 2017
The 11th International Conference on Magnetic Resonance Microscopy. “Moisture content and diffusion in ancient Roman walls” August 14-18, 2011, Beijing, China EUROMAR, Worldwide Magnetic Resonance Conference . “Unilateral NMR applied to the study of works of art”, Florence, July 6-10, 2010 IRUG 9, Infrared and Raman Users’s Group Biennial Conference, “In-situ Diffuse Reflectance FTIR, XRF and NMR studies of wall paintings at Herculaneum”, March 3rd-6th, 2010. Buenos Aires, Argentina. 37th AIC Annual Meeting: American Institute for the Conservation of historic and Artistic works “Unilateral NMR of oil stains on paper”, May 19-23, 2009, Los Angeles, CA. 3rd Symposium of Science and Art at Pratt Institute, “Science at the Archeology/Art Interface”. April 20 and 21, 2009, Brooklyn, NY Smith College, Chemistry Department, “Why does Ultramarine Blue fade”, April 8th, 2009. Northampton, MA. Museum of Fine Arts, Houston, The 33rd Annual Ruth K. Shartle Symposium “Lapis Lazuli, a blue more precious than gold”, invited presentation: “How does ultramarine blue fades?”, February 21, 2009, Houston, Texas, USA. University of Perugia, Department of Chemistry “NMR in Cultural Heritage. Invited presentation, July 25, 2008. Perugia, Italy. PITTCON, 2008, Pittsburgh Conference for Applied Spectroscopy, invited speaker, “Single-sided NMR of artists’ materials”, March 2nd- 7th, New Orleans, Lousiana. 9th ICMRM, International Conference in Magnetic Resonance Microscopy, September 3rd- 7th, 2007, invited speaker, “Unilateral NMR studies of lead white pigment in protinaceous binders”, Aachen, Germany. The Metropolitan Museum of Art, Fellows Colloquia presentation, May 1, 2007, “In-situ mobile NMR studies of the interactions between pigments and binders”. New York, NY.
SELECTED PUBLICATIONS
1. E.Del Federico, C.Kehlet, B.Charton, H. Schahbaz “Chemistry of Pompeii and Herculaneum, a case study course at the interface of Chemistry and Archeological Conservation”, submitted, Journal of Chemical Education. 2. E. Del Federico, S. Centeno, C.Kehlet, A.Kleps-Yamazaki, A.Jerschow “1H Unilateral NMR of the interactions of Lead White pigments and collagenous binders”. In print, Applied Mangnetic Resonance 3. A. Haber, B. Blümich, D. Souvorova and E. Del Federico “Ancient Roman wall paintings mapped nondestructively by portable NMR”. Analytical and Bioanalytical Chemistry 401, 4, 1441-1452, 2011. 4. K Ulrich, S. Centeno, J. Arslanoglub, E. Del Federico, “Absorption and diffusion measurements of water in acrylic paint films by single-sided NMR”, Progress in Organic Coatings, 71, 3, 283-289, 2011. 5. B. Bluemich, F. Casanova, A. Harber, E. Del Federico, V. Boardman, A. Stiliano, G.Wald, L. Isolani. “Non- Invasive Depth-Profiling of Walls by Portable Nuclear Magnetic Resonance”, Analytical and Bioanalytical Chemistry, 397, 7, 3117-3125, 2010. 6. E. Del Federico, S. Centeno, C. Kehlet, P. Currier, A. Jerschow, “Unilateral NMR applied to the conservation of works of art”. Analytical and Bioanalytical Chemistry, Volume 396, pages 213-222, 2010. 7. S. Centeno, Polonca Ropret, E. Del Federico, J. Schamir, A. Jerschow "Characterization of Al (III) complexes with hematein in artistic alum logwood inks" Journal of Raman Spectroscopy, 10.1002/jrs.2455, 2009. 8. M. Bacci, C. Cucci, E. Del Federico, A. Ienco, A. Jerschow, J. M. Newman, M. Picollo, “An integrated spectroscopic approach for the identification of what distinguishes Afghan lapis lazuli from others”. Vibrational Spectroscopy, Volume 49, Issue 1, Pages 80-83, 2009. 9. E. Del Federico, J. Newman, L. Tyne, C. O’Hern, L. Isolani and A. Jerschow, “Solid-state NMR studies of ultramarine pigments discoloration”, Mater. Res. Soc. Symp. Proc. Vol. 984, 2007. 10. E. Del Federico, Schoefberger, W, Jerschow, A., Tyne, L., Schelvis, J., Kapetanaki, S., “Insight into Framework Destruction in Ultramarine Pigments”, Inorg. Chem., 45 (3), 1270 -1276, 2006. 11. E. Del Federico.; Schoefberger, W.; Kumar, R.; Ling, W.; Kapetanaki, S. M.; Schelvis, J.; Jerschow, A. “Solid- state NMR and resonance Raman studies of ultramarine pigments,” in Materials Issues in Art and Archaeology VII, 2005; Materials Research Society Symposium Proceedings: 2005; pp 247-254.
RECENT AWARDS
2011 Kress Foundation for developing the course “Chemistry of Artists’ Materials and techniques”, in conjunction with Art History ($5,000) 2010 Stockman Family Foundation postdoctoral fellowship in Chemistry for the Arts ($70,000) 2009 The Camille and Henry Dreyfus Special Grant in the Chemical Sciences, for the expansion of Pratt’s Mobile Laboratory for the study of Artists’ Materials and Artifacts ($99,575) 2008-2009 Stockman Family Grant, for the creation of the postdoctoral fellowship in Chemistry for the arts ($60,000) 2007 Bristol Myers Squibb Foundation, Summer Undergraduate Research Program ($5,000) 2006 Alfred Sloan Civic Grant for the application of NMR to art conservation ($90,000) 2006-2007 Andrew W. Mellon Fellowship, The Metropolitan Museum of Art ($16,000)
THESES
Outside Ph.D. thesis committee member for NYU chemistry student Jacob Newman “NMR in Art Conservation”, 2008 Outside committee member for MA Hunter College Archeology student Carola Garcia Manzano “In-situ XRF characterization of the roman mosaic at the house of Neptune and Amphitrite, at Herculaneum”, 2010
AFFILIATIONS
American Chemical Society Materials Research Society American Institute for the Conservation of Historic and Artistic Works
Press Coverage:
Video: American Chemical Society Chemistry for Lifeseries interviews Eleonora del Federico on her work at Herculaneum.
https://youtu.be/UGfY-voOcS0
. American Chemical Society Press Release.
. National Geographic article Captivating New Look at Ancient Painting Buried by Volcano.
. Forbes Magazine article Science is Uncovering The Exquisite Detail In This Faded Painting.
. Smithsonian Magazine article X-rays Reveal Details of Portrait Once Hidden Under Vesuvius’ Ash.
. Archeology Magazine article Putting on a New Face.
. Cosmos magazine article The elements of art: high-tech scan reveals secrets of an ancient painting.
“An Analytical Renaissance”, Society of Chemical Industry Magazine, issue 4, 20. http://www.soci.org/Chemistry-and-Industry/CnI-Data/2010/4/An-analytical-renaissance
Brooklyn Eagle, April 6th, 2009, “Martha Stewart and Infrared Spectrometers for Pratt Institute” http://www.brooklyneagle.com/categories/category.php?category_id=18&id=27417
Scientific America, November 2008, “the incredible shrinking scanner”, pages 92-98.
Discovery Channel, Oct 13, 2006, Study Reveals Why Blue Frescoes Fade http://dsc.discovery.com/news/2006/10/13/blue_his.html?category=travel&guid=20061013143000
Science&theCity (New York Academy of Sciences blog) http://nyasblog.nyas.org/index.php/2007/07/25/art-in-science-science-in-art/
ICON, World Monument Fund Magazine, Fall 2006, “The Art of Preservation” pages 42-43
Seed Magazine, October 12, 2006, Why Ultramarine Fades to Grey, http://www.seedmagazine.com/news/2006/10/why_ultramarine_fades_to_grey.php.
Curriculum Vitae Diana Gisolfi
position: residence: Professor of Art History 843 President St. Director, Pratt in Venice Brooklyn, New York 11215 Pratt Institute [email protected] Brooklyn, New York 11205 [email protected]
Education
Ph. D. University of Chicago, 1976 Dissertation: The Youth of Veronese advisor Earl Rosenthal modern minor with John Rewald
M.A. University of Chicago Thesis: “Veronese's Concept of Decoration in the Villa Barbaro at Maser: Its Antecedents and its Uniqueness” advisor Carlo Quintavalle
Graduate work in art history, Yale University, study with George Kubler, E. Haverkamp-Begemann, Charles Seymour
B.A. Magna cum laude, Radcliffe/Harvard Fine Arts Major Honors paper: “The Early Works of Veronese: 1548-1562/63” advisor Sydney J. Freedberg Undergraduate study, Manhattanville College
Honors/grants
Glades Kreble Delmas Foundation grant 2016 to support publication of Paolo Veronese and the Practice of Painting in Late Renaissance Venice, Yale University Press
Kress Grant 2011with Eleonora del Federico for support of materials, techniques, conservation initiatives at Pratt
Pratt Provost's Grants for Project Completion, 2015, 2005, 1996
Glades Krieble Delmas Foundation Research Grant for work in Verona, Italy, Spring 1996
Who’s Who in America, 2000-
Who's Who in the World 1995-
Who's Who in American Education 1994-
Kress Grants for Graduate Student Interns at the Brooklyn Museum 1993-1999
American Philosophical Society Grant, 1989
Phi Beta Kappa
Dante Society of America Undergraduate Prize for paper “Manfred’s Salvation”
Fellowships/Scholarships, Yale University, University of Chicago, Harvard/Radcliffe, Manhattanville
Administration Chairperson, Department of Art History, Pratt Institute, 1981-1999
Developed support curriculum for School of Art and Design and upper level electives open to all students at Pratt. Developed a professional faculty, developed art history minor, developed degree programs at Bachelors and Masters levels BFA, MS, MS/MFA, MS/MS approved by New York State in June 1992. By 1999 the graduate masters program enrolled 40 students and the BFA in art history enrolled 25 students. Developed collaboration with the Brooklyn Museum, including a course required for degree candidates in Materials, Techniques and Conservation as well as the Kress Internships for Pratt Art History Graduate Students at the Brooklyn Museum, initiated 1993, awarded 1995-96, renewed 1996-97, 1997-98, and 1998-99.
Initiated Catalogue of the Permanent Collection at Pratt Institute, involving students in the Methodology Seminar so that a group of works was catalogued each fall by art history degree candidates. Worked with the Director of the Gallery and provided graduate student interns to enter the catalog in a database.
Director, Pratt in Venice 1984, 1986-present
Developed the program, and resources in Venice for the program, articulating the connection of practice and history of art in the Materials and Techniques component. Courses in Art History, Painting, Printmaking and Drawing, and Materials and Techniques of Venetian Art are integrated through faculty cooperation and shared experiences of site visits and visiting artists and scholars. The program was reviewed with high praise by Vice President George Lowy in 1990, by The Middle States Association Overseas Evaluator Sebastian Raciti in 1994, by Dean Lisa Braverman in 1998, and also by Chairs Steven Mansbach and Frima Fox Hofrichter. President Tom Schutte and Tess Schutte visited and loved the program in 2005; Fine Arts chair Jane South and Art School Dean Gerry Snyder visited and praised the program in 2017. Obtained/obtain grants for Pratt in Venice scholarships from the Forbes Foundation, the Cantor Fitzgerald Foundation, the Kress Foundation and Alumni of the Program.
Teaching
Pratt Institute Professor 1990-present Associate Professor 1984-90 Assistant Professor 1979-84 Adjunct Assistant Professor 1978-79 Instructor 1976-1978
Courses taught at Pratt Seminar: Mapping Art History Seminar: Michelangelo and Cinquecento Art Theory Seminar: Art Historical Theory and Methodology, both graduate and undergraduate versions Seminar: Venetian Renaissance Italian Renaissance Art History of Drawings and Prints Seminar: Michelangelo Seminar: Art by Women Seminar: Italian Renaissance Art Theory Seminar: Practice and Theory of Painting and Drawing in Late Renaissance Venice Materials and Techniques of Venetian Art, Pratt in Venice (in collaboration with Venetian conservators) Materials, Techniques, and Conservation (with Ken Moser and Antoinette Owen, conservators at the Brooklyn Museum of Art and with Lisa Bruno, objects conservator) Chemistry and Art (contribute lectures to science courses) Art of Venice, Pratt in Venice Art of Rome and Venice, Pratt in Italy Rembrandt and his Contemporaries Introduction to Art of Asia Western Art Survey I and II
Thesis: (directed/direct) bachelors and masters theses in: Italian Renaissance Art, Venetian art, art by women, materials/techniques of Italian art, early printed illustrated books, American Renaissance, theory of seeing, contemporary protest art, preservation and politics, three theses on Renaissance libraries and their decorations, mural techniques east and west, Caravaggio and San Filippo Neri, The Archer attributed to Michelangelo, Carpaccio’s botany, gold in Venice, early opera houses, Armenians in Venice, The Architecture of a Venetian scuola, Large multi-blackwoodcuts printed in Venice, The meaning of Durer’s Fortuna, Aretino and Giulio Romano’s I modi, Current theses: The Pagentry of Dogaressa Morosina Morosini ‘s Coronation; Tintoretto’s Madonna dell’Orto choir canvases.
Marymount Manhattan College Lecturer: Art Survey I and II; Museums Seminar
Hunter College Instructor: Western Art Survey
Publications
Books:
Paolo Veronese and the Practice of Painting in Late Renaissance Venice, London and New Haven, 2017.
The Rule, the Bible and the Council: the Library of the Benedictine Abbey at Praglia, co-authored with Staale Sinding-Larsen. College Art Association Monograph XV, Seattle, 1998.
Layout and design of Caudine Country, by Anthony M. Gisolfi, Montclair, N. J., 1985.
Video:
“Ricostruzione Virtuale della Villa Soranzo” with Gianluca Asmundo, Rita El Asmar, Malvina Borgherini, Paola Marini, 2014, shown in two Veronese exhibitions of 2014 (Verona and Castelfranco)
Contributions to exhibition catalogs:
Introduction to Meditations, one-person show of Monique Rollins, Venice, Sant’Elena, October 2018
“I rapporti di Paolo con L’ambiente artistico Veronese negli anni della Soranza”, in Paolo Veronese: l’illusione della realtà, ed. Paola Marini and Bernard Aikema, Verona, 2014, 94-105.
“Prefazione/Forward”, Iniziativa Restauro/Restoration Initiative: Torcello – Venezia, Biennale di Architettura, ed. Margaret Matz, Venice, 2014, 3-6.
“Veronese’s Training, Methods, and Shop Practice” in Paolo Veronese: a Master and his Shop in Renaissance Venice, ed. Frederick Ilchman, Sarasota, FL, 2013, 30-43.
“Unitarietà di visione nelle storie di Ester di Veronese”/“Veronese’s Unity of Vision in the Story of Esther”, in Veronese: Le storie di Ester rivelate/Veronese: the Stories of Esther Revealed, ed. Giulio Manieri Elia, Venice, 2011, 43-53.
Articles (selected)
“On Renaissance Library Decorations and the Marciana”, Ateneo Veneto, CXCVII, 3rd series, 9/II (2010) ed. Marino Zorzi, 7-21, Figs. 1-20.
“Collaboration and Replicas in the Shop of Paolo Veronese and his Heirs”, Artibus et Historiae, XXVIII, no. 55, memorial issue for W. Roger Rearick, 2007, 73-86.
“Paolo Veronese e i Benedettini della congregazione Cassinese: un caso di committenza nel Cinquecento” Arte Veneta, LXI, 2004 [issued in 2005] 206-11.
Articles on fifteen Venetian and Veronese artists in The Encyclopedia of Italian Renaissance and Mannerist Art, 2 vols, London, 2000. Also available in Grove Dictionary of Art in Oxford Art Online (updated here in 2013) These are revised and updated versions of the articles first published in the Dictionary of Art listed below.
"(Giovanni) Antonio Badile IV”, The Dictionary of Art, London, 1996, 34 vols., III, 37-38. "Domenico Brusasorzi", The Dictionary of Art, V, 31-32. "Felice Brusasorzi", The Dictionary of Art, V, 32. "Benedetto Caliari”/ ”Carlo [Carletto] Caliari”, The Dictionary of Art, V, 431-32. "Anselmo Canneri [Canera]”, The Dictionary of Art, V, 617. "Gian Francesco Caroto”/ ”Giovanni Caroto”, The Dictionary of Art, V, 815-17. "Paolo [Morando]Cavazzola", The Dictionary of Art, VI, 112-13. "Paolo Farinati", The Dictionary of Art, X, 805-806. "Nicola Giolfino", The Dictionary of Art, XII, 658. "Alessandro Maganza", The Dictionary of Art, XX, 86-87. "Francesco [il Moro]Torbido", The Dictionary of Art, XXXI, 161. "Paolo Veronese", The Dictionary of Art, XXXII, 346-56. "[Battista [Giambattista] Zelotti”, The Dictionary of Art, XXXIII, 631-32.
“The School of Verona in American Collections,” Artibus et Historiae, XXXIV, 1996, 177-91.
“Tintoretto e le facciate affrescate di Venezia,” Convegno Internazionale su Jacopo Tintoretto, Venice, 24-26 November, 1994, Jacopo Tintoretto nel quarto centenario della morte, ed. Lionello Puppi and Paola Rossi, Venice, 1996, 112-14, 315- 16.
“A New Early Veronese in Tokyo,” The Burlington Magazine, CXXXVII, November, 1995, 742-46.
“L'Anno Veronesiano and Some Questions about Early Veronese and his Circle,” Arte Veneta, XLIII, 1989- 1990, 30-42.
“Paolo Veronese e i suoi primi collaboratori,” Atti del Convegno Internazionale su Paolo Veronese Venezia, 1988, ed. Nuovi studi su Paolo Veronese, Venice, 1990, 25-36.
“Veronese and his Collaborators at 'La Soranza'”, Artibus et Historiae, XV, 1987, 67-108.
“Two Oil Sketches and the Youth of Veronese,” The Art Bulletin, LXIV, September 1982, 388-413.
“Two Tiepolo Tondi,” Yale University Art Gallery Bulletin, XXXVIII, Winter 1982, 8-17.
“Kuo Hsi and Leonardo”, The Montclair Journal of Social Sciences and Humanities, II, Winter 1973 (a student paper, invited publication)
Book/Conference/Exhibition Reviews:
“Chareles M. Rosenberg, ed., The Court Cities of Northern Italy: Milan, Parma, Piacenza, Mantua, Ferrara, Bologna, Urbino, Pesaro and Rimini, Artistic Centers of the Italian Renaissance”, book review, caareviews.org/reviews/1754, February 2, 2012.
“Irma B. Jaffe, Zelotti’s Epic Frescoes at Cataio: the Obizzi Saga” with Gernando Colombardo”, book review, Renaissance Quarterly, Winter 2008, 1253-54.
“Peter Humphrey, Titian the Complete Paintings, and Maria Loh, Titian Remade”, book review, caareviews.org/reviews/1150, August 12, 2008.
“L’Ultimo Tiziano”, exh. review, caareviews.org/reviews/1139, July 15, 2008.
“Tintoretto, Madrid, Museo Nacional del Prado, 2007”, exh. review, caareviews.org/reviews/1026, September 6, 2007.
“Rediscovering Venetian Renaissance Painting” Symposium, National Gallery of Art, Washington DC, September 16-17, 2006, caareviews/review/943, January 24, 2007.
“Andrew Hopkins, Santa Maria della Salute: Architecture and Ceremony in Baroque Venice, and Patricia Meilman, Titian and the Altarpiece in Renaissance Venice”, book review, Renaissance Quarterly, LIV, no. 3, Autumn, 2001, 949-52.
“Paul Hills, Venetian Colour: Marble, Mosaic, Painting and Glass 1250-1550”, book review, Renaissance Quarterly, LIII, no. 3, Autumn 2000, 891-92.
“L. Gnocchi, Paolo Veronese fra artisti e letterati”, book review, Renaissance Quarterly, L, no. 4, Winter 1997, 1263-64.
Invited Lectures (selected)
“Veronese’s Color Effects: perle e rubini, smeraldi e safili” 18 April 2018, International Science and Art Symposium, Pratt Institute, April 18-19, 2018.
“Brief Introduction to Nevelson”, 19 April, 2018, International Science and Art Symposium, Pratt Institute, april 18-19, 2018.
“Three Men of Verona: Geography, Hegemony, and Expansive Examples from the Veneto” in the session “Territory and Border: Geographic Considerations of Italian Art and Architecture”, College Art Association, Los Angeles, February 2012.
“L’Unita` di visione nelle storie di Esther di Paolo Veronese”, Palazzo Grimani, Venice, June 30, 2011.
“On Renaissance Library Decorations and the Marciana”, Renaissance Society of America, Venice, 10 April 2010, interdisciplinary session on The Marciana Library in its Historical and Cultural Context.
“Berenson, Vasari, Verona and Venice”, College Art Association, Chicago, February 2010, session commemorating the 50ieth anniversary of Berenson’s death.
“Fresco techniques employed in the Veneto during the Cinquecento”, Science and Art Symposium III, Pratt Institute 20 April 2009.
“Paolo Veronese’s Marriage at Cana in the Refectory of the Abbey of San Giorgio Maggiore in Venice”, Science and Art Symposium II, Pratt Institute, 2 April 2008.
“Projects of Andrea Palladio with Paolo Veronese”, The Institute of Classical Architecture, New York, 23 October 2007 (in honor of the Palladio anniversary year of 2008)
“On the Importance of Conservation Data to Art Historians” Science and Art Symposium I, Pratt Institute, 2 October 2007.
“Materials and Techniques of Paolo Veronese”, New York Studio School, April 11, 2007.
“Renaissance Variations on Antiquity: Examples from Verona and Venice”, Renaissance Society of America, Miami, March 2007, session Revisiting Views of Antiquity, chaired by Lea Mendelson and Brian Curran
“Paolo Veronese and the Practice of Drawing in Renaissance Verona”, College Art Association, New York, February 2007, session European Drawing 1300-1700 chaired by Carmen Bambach.
“Paolo Veronese and the Cassinese Benedictines,” Serial Patrons in Medieval and Renaissance Italy, 39th International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, MI, May 2004
“Masters of their Shops: Tintoretto and Veronese,” Italian Art Society Session: Continuity and Change in Italian Art, College Art Association Meeting, Philadelphia, February, 2002.
“Titian and his Rivals: Painting Practice in Late Renaissance Venice”, The Arthur M. Berger Lecture, Manhattanville College, 10 October 2001.
“Degree Programs in Art History in a Technical School Setting’” Art History in Art Schools Conference, Massachusetts College of Art, Boston, November 6, 1998.
“Pratt's Dual MS/MS Degree Program in Art History and Library Science and an Early Library Decoration,” Art Libraries Association of North America Meeting, New York, October 9, 1998
“The Rule, the Bible, and the Council: Reconstruction and Interpretation of the Pictorial Decoration of the Library of the Benedictine Abbey at Praglia.” Recent Research in Italian Art, Italian Art Society, College Art Association Meeting, San Antonio, January 28, 1995, chaired by Kathleen Weil Garris Brandt.
“Tintoretto e le facciate affrescate di Venezia”, Convegno Internazionale di studi su Jacopo Tintoretto, Venice, Novemeber 25, 1994.
“Connoisseurship and Conservation: Learning from Veronese and Tintoretto,” College Art Association Meeting, Seattle, February 1993, session Art History and Conservation, chaired by Jaynie Anderson.
“American Collectors of Renaissance Art from Verona”, Italian Art in American Collections, Istituto della Enciclopedia Italiana, Fordham University, November 19-20,1993.
“Drawing in Collaboration: Veronese and his Compatriots at 'La Soranza'”, session The Art of Design: Drawing in Italy 1400-1700, chaired by Babette Bohn, College Art Association Meeting, New York City, February, 1990.
“Paolo Veronese e i suoi primi collaboratori,” Convegno internazionale di studi nel quarto centenario della morte di Paolo Veronese (1528-1588), June 1-4, 1988, Venice.
“The Fresco Decoration of Palladio's Villas,” Pratt Institute School of Architecture, April, 1985.
Conference Session Chair/Discussant/organizer/panelist
Chair, session on History and Commentary in 15th and 16th centuries, Renaissance Society of America session, Boston 2016
Discussant, session on Pope Eugenius IV, a Venetian Papacy, Renaissance Society of America, Berlin, March 2015.
Discussant, “Giornate di Studio su Paolo Veronese” Convegno Internazionale di Studi, Verona, September 25-27, 2014
Chair: “Art in Venice and Rome”, Renaissance Society of America, New York, 2014 Chair: “Venice and Visual Culture”, Renaissance Society of America, New York, 2014
Panelist: “Art Materials Education Session”, College Art Association, Chicago, February 2014.
Chair and co-organizer, “Renaissance Verona: her Rare Ornament in Every Age of Illustrious Men”, Renaissance Society of America, San Diego, April 2013.
Chair and organizer, “Disegno”, Italian Art Society session, College Art Association, New York, February 2013.
Chair, Session on “Monks, Friars and Learning”, Renaissance Society of America, Montreal, March 2011.
Co-Organizer, with Sarah McHam: “The Marciana Library in its Historical and Cultural Contexts”, Renaissance Society of America, Venice, April 2010
Chair and organizer, “Art by Italian Women”, Italian Art Society Session, College Art Association Meeting, Dallas, February 2008
Chair, Session on “Images of the Life of St. Benedict”, organized by Anne Leader, Renaissance Society of America, Miami, March 2007
Chair and Organizer, “Alterations in Italian Art”, Italian Art Society Session, College Art Association Meeting, Boston 2006
Chair, Renaissance Session VI, Renaissance Society of America Meeting, New York, April 2004 Chair, Renaissance Session IV, Renaissance Society of America Meeting, New York, April 2004
Discussant: “Vita Benedicti” session, Medieval and Renaissance Conference, Kalamazoo, MI, May 2003
Chair: session “Per una lettura concreta dell’opera”, Convegno Internazionale di Studi su Jacopo Tintoretto nel IV Centenario della Morte, Venice, November 25, 1994
Invited Workshop/Seminar/Scholars’ Study Day Participant (selected)
Torcello Iniziativa Restauro/Restoration Initiative Presentation, San Lio, Venice, July 2014
International Science and Art Symposium IV, Pratt Institute, April 2014
London National Gallery, Scholars’ Colloquium in the Veronese Exhibition, March 2014
STITAH workshop on artists’ materials, July 2012, held at Yale University, New Haven
“Titian Tintoretto Veronese Study Day”, Museum of Fine Arts, Boston, MA, March 2009
“Veronese Study Day”, Frick Collection, New York, June 2007
“Art History in Art Schools”, Mass College of Art, November 1998
“Women in Architecture: how to exhibit their work”, Pratt Institute, School of Architecture, Spring 1993
“Veronese Reconsidered”, CASVA round table seminar, Washington National Gallery, November 1988
“Working Strategies for Women”, Women's Caucus for Art, New York, Spring 1986
External invited professional activities (selected)
Morgan Stanley ideas Podcast interview regarding the Michelangelo Exhibition curated by Carmen Bambach at the metropolitan Museum of Art. December 2017.
College Art Association Conference Committee, 2017-2020
EU Commission external project reviewer 2017
Italian Art Society Program Committee, 2015-2018
Organizer supper with Getty young international invitees at College Art Meeting, February, 2015
Juror and Chair of Jury, Arthur Kingley Porter Prize, College Art Association, 2013-2015
Commitato scientifico for exhibition: Paolo Veronese: L’Illusione della Realtà, Verona, 2014
Video Reconstruction of the Villa Soranzo, 2014, in collaboration with architects Giovanni Asmundo and Rita el Asmar.
Consultant for exhibition in Sarasota Florida on Veronese and his Workshop, 2010-2013
Evaluator of professional materials of candidate for tenure at Adelphi University, New York, 2013
Dissertation committee member for Ph. D. candidate at Rutgers University, student of Professor Sarah McHam, thesis on patronage by the Canons of San Giorgio in Braida, Verona (1441-1668), defended, April 2011.
Pre-publication review of article for Renaissance Quarterly
Organizer professional supper with Renaissance participants in Getty funded project for young scholars from diverse countries where art history is developing, College Art Association, Chicago, February 2010
Evaluator professional materials of candidate for tenure at Clark University, Worcester, MA, fall 2009
Evaluator professional materials of candidate for distinguished professor at Long Island University, spring 2009
Pre-publication review of paper by scientists at Metropolitan Museum of Art on conservation of three paintings by Veronese, 2008 (paper published 2010 in Metropolitan Museum Studies in Art Science and Technology 1).
Rhode Island School of Design Visiting Committee on the Foundation Year, November 1997
Committees at Pratt (selected) Search Committee for Design Historian, 2017-18 Search Committee for scholar of ancient art, 2016 Admissions Committee, Department of History of Art and Design, 2010-2015 Search Committee for Design Historian 2012-13 Search Committee, Chair of Art History, 2012 Search Committee for Chair of Art History, 2008 Art History Self-Study 2007-2008, Chair section on students in the Department, degree candidates for BFA, BA, MS, MS/MFA, MS/MS in Theory, Criticism and History of Art, Design and Architecture Chair, Art History BA Committee 2000-2001 Art History Peer Committee 2000, 2005, 2010, 2016 Search Committee for Chair of AOS Program, 1999 Advisory Committee on International Student Affairs, 1997 Chair, Self Study Committee, for Middle States Association, Fall 1989 Search Committee for Dean of Art and Design, 1986 Middle States Association Mid-term Committee, 1985 Search Committee for Dean of Liberal Arts, 1985 Foreign Language Committee, 1983-1985, 1998 Search Committee for Dean of Art and Design, 1982 Chair, Self Study Committee, for Middle States Association, Fall 1979 Role of Art History Committee, 1979
Professional Organizations
College Art Association Italian Art Society Renaissance Society of America Save Venice