BILANCIO CONSUNTIVO Esercizio 2008
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Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Mona Lisa: a Comparative Evaluation of the Different Versions S
ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3]. -
Decoding the Last Supper
HOUSE OF TRUTH | TOTUUDEN TALO Decoding the Last Supper The Great Year and Men as Gods House of Truth | www.houseoftruth.education 21.6.2013 Table of Contents Introduction ....................................................................................................................................................... 2 The Last Supper and the Great Year .................................................................................................................. 3 36 engravings on the roof ............................................................................................................................. 4 Elements of the Last Supper .......................................................................................................................... 5 Hands of Christ .............................................................................................................................................. 6 The Lesser Conclusion ................................................................................................................................... 7 Men as Gods in the Last Supper ........................................................................................................................ 8 Roman trio of gods ........................................................................................................................................ 9 Evidence number 153 ................................................................................................................................. -
Scuola Circle 芬奇与他的艺术群体
31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE 31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE A cura di | Curator | 展览策展人 Nicola Barbatelli 尼古拉·巴尔巴泰利 Nota introduttiva di | Introduced by | 序言 Giovanna Nepi Scirè 乔凡娜·内皮·希雷 LEONARDO LEONARDO E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE Palazzo Giustinian Lolin ospita fino al 25 agosto 2019 un importante tributo al genio Palazzo Giustinian Lolin hosts until 25 August 2019 an important tribute to the genius of di Leonardo Da Vinci, in occasione delle celebrazioni del cinquecentenario dalla Leonardo Da Vinci, on the occasion of the celebrations marking the 500th anniversary of scomparsa: la mostra “Leonardo e la sua grande scuola”, a cura di Nicola Barbatelli. Leonardo da Vinci’s death: the exhibition “Leonardo and His Outstanding Circle”, curated by Con 25 opere esposte – di cui due disegni attribuiti al genio toscano – il progetto pone Nicola Barbatelli. Proposing a collection of 25 works — among which two drawings attributed l’accento non solo sull’opera del grande Maestro, ma soprattutto sulle straordinarie to the Tuscan genius —, this project does not merely focus on the work of the great master, pitture dei suoi seguaci – tra cui Giampietrino, Marco d’Oggiono, Cesare da Sesto, but above all on the extraordinary paintings of his followers — including Giampietrino, Marco Salaì, Bernardino Luini – e il loro dialogo con la poetica artistica di Leonardo. d’Oggiono, Cesare da Sesto, Salaì, Bernardino Luini — and their dialogue with Leonardo’s artistic poetics. -
Information to Users
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Chiara Matteucci Department of Cultural Heritage – University of Bologna
Reflecting on fundamental issues of attributional method (Taking Leonardo da Vinci and his school as a paradigm) Chiara Matteucci Department of Cultural Heritage – University of Bologna Authentication in Art (AiA), Congress 11-13 May 2016 Nowadays diagnostic technologies have allowed to expant the number of characteristic properties detectable in a painting, such as the techniques used and the modus operandi of an artist, narrowing the field to those issues that are more difficult to fake. In this view, the diagnostic analyses for the attribution and authentication provide information, as obje ctive as possible, which, however, need a broader interpretation that integrate them in a historical context. In order to do so, it is also essential to keep an "ethos of transparence and verifiability [...] guaranteeing intersubjectivity of mutual communication"1. We should consider attributional studies as evolving as a construction/deconstruction process: experts should therefore be prepared to questioning their views, if new documents or material elements are discovered that raise doubts about their initial thesis2. In addition, the inevitable, but known and therefore graspable, "confirmation bias"3 should be taken into account, which, acting either in positive or negative ways, directs the subject engaged in connoisseurship towards the exclusive primary research of compatible elements or, on the contrary, the exclusive consideration of factors that are not congruent. As known, the current practice of attribution accepted both in the legal field and for commercial use is based on three key lines4: connoisseurship, or visual inspection by a knowing eye5, provenance studies and scientific investigations (Figure 1). The latter are currently used primarily as support for the expert's decision. -
The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle
arts Article The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle Claudio Calì Design Department, Politecnico di Milano, 20133 Milan, Italy; [email protected] Abstract: This article presents an in-depth study of Raphael’s drawing of Leda and the Swan (RCIN 912759), preserved at Windsor Castle. The research aims to make the paper’s physical properties accessible and extend the information on the watermark. The methodology follows an artistic– design-oriented approach. The data extraction process uses a back-lighting photographic technique combined with image post-processing operations. The work catalogues in scientific terms the complete paper mould lines of the Windsor sheet according to the International Standard of Paper Classification (IPH). Based on comparisons with a series of drawings by Leonardo da Vinci, the contribution suggests a chronological and provenance estimate of the paper used by Raphael. Keywords: Raphael; Leonardo da Vinci; Leda; design; paper-based watermark; digitisation; graphical representation; image-processing; art; preservation 1. Introduction The drawing Leda and the Swan in the Royal Collection at Windsor Castle, RCIN 912759, dated 1507, is one of Raphael’s best-known mythological studies and conceivably Citation: Calì, Claudio. 2021. The among the most remarkable portraits on paper dedicated to the figure of Leda. The Rediscovered Watermark in the examination of the drawing from life came about almost by chance. A research visit to Drawing Leda and the Swan by Windsor was made to analyse the paper supports of a series of drawings made by Leonardo Raphael Kept at Windsor Castle. Arts da Vinci. -
Programma Di Sala2
Anniversario Firenze della morte di Sabato 22 settembre, ore 21 MONSIGNOR Chiesa di San Filippo Neri GIANCARLO SETTI Piazza San Firenze Concerto di musica sacra in memoria di Monsignor Giancarlo Setti PROGRAMMA «Ho scritto il mio Requiem senza motivo… per il piacere di farlo, se così posso dire. César Franck È stato eseguito alla Madeleine PANIS ANGELICUS dalla Messe Solennelle Op.12 per le esequie di un Antonio Vivaldi parrocchiano qualunque». DOMINE DEUS dal Gloria RV 589 Wolfgang Amadeus Mozart «Si è detto che quest’opera non LAUDATE DOMINUM esprime il terrore della morte; da Vesperae solennes de Confessore KV 339 qualcuno l’ha chiamata una berceuse funebre. Gabriel Fauré Eppure è così che io sento la REQUIEM in re min. Op. 48 morte: come una lieta per soli, coro e orchestra da camera (versione 1893) liberazione, un’aspirazione alla felicità dell’aldilà e non un GAMS Ensemble doloroso trapasso». Gruppo Polifonico Quodlibet Vocalia Consort «Può darsi che io abbia tentato Soprano Elena Mariani di uscire dalle convenzioni, Baritono Filippo Becattini dopo tutti gli anni in cui ho Organista Francesco Giannoni accompagnato all’organo le funzioni funebri. Ho voluto fare Direttore Massimo Annibali un’altra cosa». Maestro del coro Gianni Franceschi Gabriel Fauré REQUIEM REQUIEM Pie Jesu Pie Jesu Pie Jesu, Domine, dona eis requiem; Pietoso Signore Gesù, dona loro il riposo; Introït Introito Dona eis requiem, sempiternam requiem. dona loro il riposo, il riposo eterno. Requiem aeternam, dona eis Domine: L’eterno riposo dona loro, Signore, et lux perpetua luceat eis. e splenda ad essi la luce perpetua. Agnus Dei Agnus Dei Te decet hymnus Deus, in Sion, Si innalzi un inno a te, o Dio, in Sion, Agnus Dei, qui tollis peccata mundi, Agnello di dio, che togli i peccati del mondo, et tibi reddetur votum in Ierusalem. -
Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God. -
The Scientific Narrative of Leonardoâ•Žs Last Supper
Best Integrated Writing Volume 5 Article 4 2018 The Scientific Narrative of Leonardo’s Last Supper Amanda Grieve Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/biw Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classical Archaeology and Art History Commons, and the International and Area Studies Commons Recommended Citation Grieve, A. (2018). The Scientific Narrative of Leonardo’s Last Supper, Best Integrated Writing, 5. This Article is brought to you for free and open access by CORE Scholar. It has been accepted for inclusion in Best Integrated Writing by an authorized editor of CORE Scholar. For more information, please contact library- [email protected]. AMANDA GRIEVE ART 3130 The Scientific Narrative of Leonardo’s Last Supper AMANDA GRIEVE ART 3130: Leonardo da Vinci, Fall 2017 Nominated by: Dr. Caroline Hillard Amanda Grieve is a senior at Wright State University and is pursuing a BFA with a focus on Studio Painting. She received her Associates degree in Visual Communications from Sinclair Community College in 2007. Amanda notes: I knew Leonardo was an incredible artist, but what became obvious after researching and learning more about the man himself, is that he was a great thinker and intellectual. I believe those aspects of his personality greatly influenced his art and, in large part, made his work revolutionary for his time. Dr. Hillard notes: This paper presents a clear and original thesis about Leonardo da Vinci’s Last Supper that incorporates important scholarly research and Leonardo’s own writings. The literature on Leonardo is extensive, yet the author has identified key studies and distilled their essential contributions with ease. -
Bilancio Sociale Degli Enti Non Profit Esperienze Toscane
QUADERNI DI STUDI E RICERCHE 12 QUADERNI DI STUDI E RICERCHE 1. Luciano Zannotti, /LEHUWjGLLQVHJQDPHQWRHLQVHJQDPHQWRGHOODOLEHUWj, 2001 2. Vincenzo Cavaliere, Dario Rosini, 'DDPPLQLVWUDWRUHDPDQDJHULOGLULJHQWHSXEEOLFRQHOOD JHVWLRQHGHOSHUVRQDOHHVSHULHQ]HDFRQIURQWR, 2002 3. Maria Antonietta Rovida, /DFDVDFRPH³EHQHGLFRQVXPR´QHOOHRSHUD]LRQLLPPRELOLDULGL )UDQFHVFR6DVVHWWL, 2003 4. Maria Antonietta Rovida, 3DOD]]LVHQHVLWUD H 0RGHOOLDELWDWLYLHDUFKLWHWWXUDWUD WUDGL]LRQHHLQQRYD]LRQH, 2003 5. /LQHDJXLGDSHUODSURJHWWD]LRQHGLXQVLVWHPDGLJHVWLRQHSHUODTXDOLWjGLXQFRUVRGLVWXGL XQLYHUVLWDULR a cura di Bruno Zanoni, Erminio Monteleone, Claudio Peri, 2004 6. Fabrizio F.V. Arrigoni, 1RWHVXSURJHWWRHPHWURSROL, 2004 7. /DSURJHWWD]LRQHGHOODFLWWjSRUWXDOH6SHULPHQWD]LRQLGLGDWWLFKHSHUXQDQXRYD/LYRUQR,a cura di Manlio Marchetta, 2004 8. Leonardo Trisciuzzi, Barbara Sandrucci, Tamara Zappaterra, ,OUHFXSHURGHOVpDWWUDYHUVR O¶DXWRELRJUDILD, 2005 9. Elena Rotelli, ,OFDSLWRORGHOODFDWWHGUDOHGL)LUHQ]HGDOOHRULJLQLDO;9VHFROR, 2005 10. Stefano Cordero di Montezemolo, ,SURILOLILQDQ]LDULGHOOHVRFLHWjYLQLFROH, 2005 11. Riccardo Passeri, Leonardo Quagliotti, Christian Simoni, 3URFHGXUHFRQFRUVXDOLHJRYHUQR GHOO¶LPSUHVDDUWLJLDQDLQ7RVFDQD, 2005 Luca Bagnoli Maurizio Catalano ,OELODQFLRVRFLDOHGHJOLHQWLQRQSURILW HVSHULHQ]HWRVFDQH Firenze University Press 2005 Il bilancio sociale degli enti non profit : esperienze toscane / Luca Bagnoli, 0DXUL]LR&DWDODQR±)LUHQ]H)LUHQ]HXQLYHUVLW\SUHVV 4XDGHUQLGLVWXGLHULFHUFKH8QLYHUVLWjGHJOL6WXGLGL)LUHQ]H http://digital.casalinLLW 6WDPSDDULFKLHVWDGLVSRQLEile -
A Multidisciplinary Study of the Tongerlo Last Supper 0722
A Multidisciplinary Study of the Tongerlo Last Supper and its attribution to Leonardo da Vinci’s Second Milanese studio Jean-Pierre Isbouts, Fielding Graduate University, Santa Barbara, CA, and Christopher Brown, Brown Discoveries, LLC, North Carolina This article presents the findings from a two-year study of the Last Supper canvas in the Abbey of Tongerlo, Belgium, including a detailed review of its provenance as well as a digital analysis and multispectral study conducted by the Belgian company IMEC in the Spring of 2019. The design of the study is a composite multidisciplinary approach, with traditional connoisseurship and literary research being augmented by scientific examination, using new digital processing and multispectral imaging techniques. The article argues that based on the available evidence, the Tongerlo Last Supper was produced in Leonardo’s Milanese workshop between 1507 and 1509, as a collaborative project involving the Leonardeschi Giampietrino, Andrea Solario and Marco d’Oggiono under Leonardo’s supervision. Furthermore, the infrared spectography scans suggest that the face of John in the painting may have been painted by Leonardo himself. The study was funded by IMEC Belgium; Fielding Graduate University of Santa Barbara, CA; Brown Discoveries, LLC of North Carolina, and conducted with the gracious permission of the Premonstratensian Abbey of Tongerlo, Belgium. Key words: Leonardo da Vinci (1452-1519); Last Supper; Technical Art History; Multispectral Imaging; the art of the Leonardeschi. Fig. 1. Studio of Leonardo da Vinci, Last Supper (after Leonardo), known as the Tongerlo copy, 1507-1509. Introduction For the last 450 years, the Tongerlo canvas of the Last Supper has been quietly occupying a wall in a chapel on the grounds of the Premonstratensian Abbey of Tongerlo near Westerlo, about an hour’s drive from the Belgian city of Antwerp.