The museum has launched a research partnership with the Scuola di Alta Formazione e di Studio of the Opificio delle Pietre Dure, Florence.
Misure e segni. Curvature di Bice Lazzari.
Studio preliminare, progetto di restauro e intervento conservativo.
Thesis by Arianna Ingrassia
Scuola di Alta Formazione e di Studio dell’Opificio delle Pietre Dure, Florence
Supervisors: M. Ciatti, G. Lanterna, O. Sartiani, M. Patti, L. Pensabene Buemi
Year: 2015
abstract
This project focuses on the conservation of Bice Lazzari's, Measures and Signs. Curvatures. It includes an in-depth study of the work and of Lazzari’s oeuvre (exhibition history, analysis of techniques, conservation status, and the effects of previous restoration campaigns), and documents the analysis of the work's materials and its conservation treatment. It also provides indications on how to approach similar conservation projects in the future. The study was presented at the international conference on I giovani e il restauro. L’arte nel tempo: significato, trasformazione e conservazione, Rome, 2016.
Biographycal information
Arianna Ingrassia graduated in 2015 with an MA degree in Conservation and Restoration of Cultural Heritage from the Scuola di Alta Formazione e di Studio of the Opificio delle Pietre Dure, specializing in paintings on wood and textile supports, colored wooden sculptures, artifacts in painted, assembled, or reworked synthetic materials.
PublicationS
A. Ingrassia, G. Lanterna, M. Ciatti, M. Patti, L. Pensabene Buemi, O. Sartiani, Il dipinto “Misure e segni. Curvature” della Collezione Peggy Guggenheim. Studio preliminare, sperimentazione ed intervento conservativo, in I giovani e il restauro. L’Arte nel tempo: Significato, Trasformazione e Conservazione, proceedings of the conference held at the Museo Nazionale Romano Palazzo Massimo, Rome, 2016 (Padova, Il Prato: 2016).
A. Ingrassia, L. Pensabene Buemi, O. Sartiani, “Misure e segni. Curvature” di Bice Lazzari. Studio preliminare, progetto di restauro e intervento conservativo, in Dall’olio all’acrilico, dall’impressionismo all’arte contemporanea. Studi, ricerche, indagini scientifiche ed interventi conservativi, proceedings of the 7th International Conference on Colore e Conservazione, Politecnico di Milano, 2015 (Padova, Il Prato: 2016).
lectures and Conferences
A. Ingrassia, “Misure e segni. Curvature” by Bice Lazzari. Preliminary investigation, conservation project and restoration, Peggy Guggenheim Collection, Venice, March 25, 2016.
A. Ingrassia e A. Vecchiarelli, “Sessione poster,” I giovani e il restauro. L’Arte nel tempo: Significato, Trasformazione e Conservazione, LUMEN, Museo Nazionale Romano Palazzo Massimo, Rome, February 24-26, 2016.
A. Ingrassia e A. Vecchiarelli, “Sessione poster,” Dall’olio all’acrilico, dall’Impressionismo all’arte contemporanea. Studi, ricerche, indagini scientifiche ed interventi conservativi, 7th International Conference on Colore e Conservazione, Politecnico di Milano, November 13-14, 2015.
Leslie Thornton, Roundabout, 1955, Collezione Peggy Guggenheim di Venezia: problematiche di conservazione e restauro di una scultura in acciaio dolce saldato e trattato con stesure differenziate.
Thesis by Arianna Vecchierelli
Scuola di Alta Formazione e di Studio dell’Opificio delle Pietre Dure, Florence
Supervisors: S. Agnoletti, L. Pensabene Buemi, M. D. Mazzoni, M. Galeotti, M. Patti.
Year: 2015
abstract
The study is part of the research project on metallic artifacts conducted by the Peggy Guggenheim Collection, in collaboration with the Bronze and Antique Arms department of the Opificio delle Pietre Dure. It focuses on the restoration of Roundabout, a steel welded sculpture by Leslie Thornton. The study presents the research on the historical and technical aspects of the materials, the conservation of the work, and gathers all information related to the work’s conservation, presenting new pioneering conservation strategies for contemporary sculpture.
Biographycal information
Arianna Rachele Vecchierelli trained in sculpture at the Accademia di Belle Arti di Brera in Milan, where she acquired in-depth knowledge of the history and techniques of this medium, and graduated in 2015 with an MA degree in Conservation and Restoration of Cultural Heritage at the Scuola di Alta Formazione e di Studio of the Opificio delle Pietre Dure, specializing in the restoration of ceramic, metal, glass, and organic materials in contemporary sculpture.
Publications
S. Agnoletti, L. Pensabene Buemi, A. Vecchierelli, Il restauro di una scultura in ferro saldato appartenente alla collezione Peggy Guggenheim di Venezia, in Dall’olio all’acrilico, dall’Impressionismo all’Arte Contemporanea. Studi, ricerche, indagini scientifiche ed interventi conservativi, proceedings of the 7th International Conference on Colore e conservazione, Politecnico di Milano, 2015 (Padova, Il Prato: 2016).
S. Agnoletti, M. Galeotti, M. Mazzoni, M. Patti, L. Pensabene Buemi, A. Vecchierelli, Leslie Thornton, “Roundabout”, 1955, Collezione Peggy Guggenheim di Venezia: problematiche di conservazione e restauro di una scultura in acciaio dolce saldato e trattato con stesure differenziate, in I giovani e il restauro. L’Arte nel tempo: Significato, Trasformazione e Conservazione, proceedings of the conference held at the Museo Nazionale Romano Palazzo Massimo, Rome, 2016 (Padova, Il Prato: 2016).
S. Agnoletti, A. Vecchierelli, L. Pensabene Buemi, The importance of documentation to the conservation of the 1955 welded steel sculpture ‘Roundabout,’ by Leslie Thornton, in Studies in Conservation, vol. 61, 2016 - Issue sup2: LA Congress Preprints Modern Art
Lectures and Conferences
A. Vecchiarelli, Leslie Thornton, “Roundabout” (1955) Collezione Peggy Guggenheim, Venezia: problematiche di conservazione e restauro di una scultura in acciaio dolce saldato e trattato con stesure differenziate, Salone del Restauro, Ferrara, March 23, 2017.
A. Vecchiarelli, “Sessione Poster,” Saving the Now: Crossing Boundaries to Conserve Contemporary Works, International Institute for Conservation (IIC) 2016 Los Angeles Congress, Millennium Biltmore Hotel, Los Angeles, September 12-16, 2016.
A. Ingrassia e A. Vecchiarelli, “Sessione poster,” I giovani e il restauro. L’Arte nel tempo: Significato, Trasformazione e Conservazione, LUMEN, Museo Nazionale Romano Palazzo Massimo, Rome, February 24-26, 2016.
A. Ingrassia e A. Vecchiarelli, “Sessione poster,” Dall’olio all’acrilico, dall’Impressionismo all’arte contemporanea. Studi, ricerche, indagini scientifiche ed interventi conservativi, 7th International Conference on Colore e Conservazione, Politecnico di Milano, November 13-14, 2015.
Aria, acqua e ferro. Il restauro di Signal (Takis, 1958) dalla Collezione Peggy Guggenheim di Venezia. Criticità conservative e metodologie d’intervento su un’opera cinetica in acciaio esposta in esterno.
Thesis by Veronica Collina
Scuola di Alta Formazione e di Studio dell’Opificio delle Pietre Dure, Firenze
Supervisors: S. Agnoletti, L. Pensabene Buemi, A. Ervas, M. Galeotti, L. Speranza.
Year: 2018
Abstract
The research is focused on Signal (1958) by the Greek artist Takis, a large kinetic work in painted steel and brass, which is exhibited externally. The work was in an extremely critical state of conservation due to extensive corrosion and major structural problems. The base plates exhibited serious mineralization of the metal component and also one of the three vertical rods was almost separated from the support element. Extensive diagnostic testing was carried out which led to the discovery that many materials used by the artist were recycled pieces of steel no longer available on the market. This thesis was an opportunity to address major conservation issues and to study materials suitable for solving serious corrosive and structural problems.
Biography
A restorer with a degree in ceramic, glass, metal, and alloy artefacts from the Opificio delle Pietre Dure in Florence. Thesis written on Signal by Takis (1958) in the Peggy Guggenheim Collection, Venice. Prior to studying in Florence, she earned a three-year degree in the History and Protection of Cultural Heritage at the University of Florence. As a private restorer she collaborated with the Opificio delle Pietre Dure on the restoration of the bronze Descent of Christ into Limbo (16th century) by Cesarino da Perugia, based on a drawing by Raphael, and with the Nicola Salvioli restoration firm on the restoration of the bronzes by Bartolomeo Ammannati from the Fountain of Neptune in Florence.