aCademiC Catalog 2013-2014 - Lorenzo de Medici

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School of Creative Arts FLORENCE attention will be dedicated to the relationship of the figure to the surrounding space (figure/ground relationships), and other projects will suggest unusual points-of-view, such as a particularly foreshortened form, focus, and detail. The technique of tratteggio will be emphasized for shading in order to obtain the effect of chiaroscuro found in historical drawings. Evaluation will focus on specific drawing techniques found in the Renaissance with technical and stylistic considerations, and a portfolio of anatomical drawings and portions of copies done with tratteggio. Homework to improve manual dexterity and exploration of technical ability is required. Archaeology Workshop RES 193 F; Dual listed: CLA 193 F / ANT 193 F Cr: 3; Contact hrs: 45 This course combines an introduction to archaeology with hands-on work on 2500 year-old archaeological finds in LdM’s Archaeology Lab. These finds have recently been unearthed in central Italy in the archaic settlement of Accesa, under the scientific direction of the University of Florence, and in the Hellenistic necropolis of Bosco della Riserva, near Tuscania, where an excavation project is being conducted by LdM Students will learn what happens to the finds once they leave their recovery contexts and arrive in Florence: here, under the expert guidance of the instructors, students will be involved in the fundamental activities of restoration, conservation, documentation,study and storage of the finds. This course will also give students a general survey of the evolution of the discipline of archaeology over time and it will introduce them to the ancient Etruscan civilization, which forms such an important part of Italy’s culture and heritage. Students will also have the opportunity to sign up to the summer workshop in Tuscania which operates directly at one of the archaeological sites. Florence and Southern Italy Restoration Workshop (Summer only) RES 225 F Cr: 6; Contact hrs: 90 The course comprises three weeks in Florence and a field week in southern Italy. Students gain knowledge and practical skills concerning historical painting and restoration techniques, working with original polychrome wooden sculptures and mural paintings. In Florence participants learn the original fresco techniques, from the mixing of fresco mortar (intonaco) to its application on support, and the use of pigments. Each participant makes a sinopia (preliminary underdrawing for fresco) and completes a small fresco on a terracotta support. Restoration techniques are pursued, including the detachment of the participant’s own fresco from its support, a wall painting conservation method. Participants work with original works of art from the 16th to 17th centuries as they learn how to use the principal modern painting restoration techniques. The course surveys historical oil and tempera painting techniques, aided by museum visits, and students learn to recognize the century in which paintings were created. During the field workshop week students work in the main church of Rocca Imperiale near Cosenza in Calabria, southern Italy. This town near the Taranto Gulf, an important ancient Greek settlement and a notable archaeological area, is also famous for its medieval fortress. Students apply appropriate materials and conservation and restoration techniques to authentic works of art. Following diagnostic study of the artwork in order to understand dating and conservation conditions, students concentrate on cleaning and consolidating the artwork. Next students learn to use different products for the restoration of the surface layers. As the last step students work on the pictorial layer and may do some painting. Florence and Chianti Restoration Workshop (Summer only) RES 226 F Cr: 6; Contact hrs: 90 In this course, held partly in Florence and partly in the Chianti, participants gain knowledge and practical skills concerning historical painting and restoration techniques. During the three weeks in Florence participants learn the original fresco techniques, from the mixing of fresco mortar (intonaco), its application on support, to the use of pigments. Each participant makes a sinopia (preliminary underdrawing for fresco) and completes a small fresco on a terracotta support. Restoration techniques are pursued, in part through the detachment of the participant’s own fresco from its support, a wall painting conservation method. Participants work with original works of art from the 16th to 17th centuries as they learn how to use the principal modern painting restoration techniques to bring period paintings back to their original states. The course also briefly surveys the historical techniques used for making oil and tempera paintings, and students learn to recognize the century in which paintings were created. Museum visits help to explain techniques used in class. During the field workshop week participants will work in the town of San Gusmè in the Chianti region between Florence and Siena. Participants will ripristinate the original polychromatic surfaces of important 16th-century altars in the principal church. They will remove the pigments of the preceding restoration of about a century ago, with scalpels, eliminating the chromatic distortion of this overpainting. Participants then proceed to reconstruct the work with colored stucco and tempera, with a final wax stratum to render the beautiful original effect. Theory of Conservation RES 230 F Cr: 3; Contact hrs: 45 This course will discuss the techniques used in paintings on panel and on canvas, fresco, and polychrome wooden sculpture in order for the student to become acquainted with the actual historical materials and the conservation methods used on each of these. Practical demonstrations using real materials (pigments, glue, resin, plaster, canvas) will also help illustrate theoretical dimensions of this topic. Classes will also consider the ethics and issues encountered throughout the field of restoration and its history. These concepts will also be discussed during museum visits in Florence and will be used in class for discussion. Examination and discussion of a work of art are important elements before, during, and after every intervention. Lectures will examine various fresco techniques found throughout art history and specific examples of fresco restoration applied to these works. We will visit Santa Croce and the Brancacci Chapel to illustrate the technique and the restoration used on specific works. The restoration of paintings, both on panel and canvas, will be discussed using visual images and, most importantly, museum visits, for a better understanding of techniques. For example a visit to the Bargello will highlight the collection of polychrome wooden sculpture and the various restoration techniques found on this medium. The course will conclude with the students’ own opinions on restoration as a profession and will examine the various responsibilities that an art conservator encounters when working with art history’s most precious documentation. Historical Painting Lab I RES 245 F Cr: 3; Contact hrs: 90 The history of painting techniques used throughout the ages is an important part of the conservator’s role in recognizing how a work of art is made and what materials were used (fresco, tempera, oil, etc.). Students will make small panels using various samples so that they may become more familiar with techniques used for the paintings they restore. Cennino Cennini’s The Craftsman’s Handbook will be used as a textbook for these ancient procedures to be done from scratch: egg tempera, self-made oil paints, the gesso-colletta primer for canvas and panels, gold gilding, decorative arts, etc. Maximum care is to be put into these partial ‘copies’ in order for them to be part of the conservation student’s portfolio. Science for Conservators I RES 250 F Cr: 3; Contact hrs: 45 This course will provide conservation students with essential up-to-date tools for a more scientific approach to restoration practice. It will outline the basic concepts of chemistry in order to integrate a more in-depth knowledge of the materials and techniques used in the profession. The course covers the general function of molecules, chemical bonding and chemical equations, with an introduction to the materials found more 98 LdM Academic Catalog 2013-2014
specifically in frescoes and paintings. Causes of deterioration and the very important aspects of cleaning a work of art will be discussed from a scientific point of view. Topics will also include solvents, acidity and alkalinity, detergents, and consolidation of porous materials. Some demonstrations of reactions and practical application will be shown to introduce the materials used in conservation more effectively. Fresco Painting and Restoration II RES 260 F Cr: 3; Contact hrs: 90 In this course students will begin “on-site” work, restoring original frescoes. Techniques will vary according to the conservation needs of the work of art. Students will deal with the following preservation or aesthetic tasks: cleaning of the fresco, repairing cracks in the fresco’s support, consolidating original intonaco, plastering of missing areas, and retouching the painted surfaces where necessary. The teaching method is focused on practical experience as a major source for understanding the principles of fresco restoration. Prerequisites: RES 160 Fresco Painting and Restoration I, or equivalent Painting and Polychrome Wooden Sculpture Conservation II RES 275 F Cr: 3; Contact hrs: 90 Under the instructor’s supervision, students will begin working exclusively on authentic paintings to form a more independent approach to conservation. Depending on the project available, techniques will vary according to the conservation needs of the work of art. Students will be introduced to the various phases of conservation and may encounter any of the following preservative or aesthetic tasks: relining, cleaning, plastering missing areas, consolidating loose pictorial layers, and retouching painted surfaces with various in-painting methods. Accurate lab records are to be presented for mid-term and final evaluations, along with research relevant to that project. Photographic documentation is required for monitoring the progress of each painting being restored. Prerequisites: RES 175 Painting and Polychrome Wooden Sculpture Conservation, I or equivalent Science for Conservators II RES 340 F Cr: 3; Contact hrs: 45 This course, more profoundly than Science for Conservators I, covers the very important aspects of cleaning a work of art and the concepts and materials used. Topics will include the nature of dirt, mechanical cleaning, liquids and solutions, organic solvents, cleaning with water, acidity and alkalinity, and cleaning by chemical reaction. Prerequisites: RES 250 Science for Conservators I, or equivalent Historical Painting Lab II RES 345 F Cr: 3; Contact hrs: 90 Historical painting techniques learned in the first course will be used to make exact replicas of a chosen era (preferably of a work of art found in Florence). Students’ works will be judged on accuracy of technique, drawing, and color. This full reproduction will demonstrate the student’s manual dexterity and eye for color, as well as sensitivity of observation toward historical works of art. The finished replica will be an important asset for the students’ portfolio if they are to continue their educational career in conservation. Prerequisites: RES 245 Historical Painting Lab I, or equivalent Advanced Fresco Painting and Restoration RES 360 F Cr: 3; Contact hrs: 90 Thanks to Florence’s Soprintendenza delle Belle Arti, students will have the opportunity to work with original works of art under the instructor’s supervision. A thesis paper regarding specific techniques or issues in fresco conservation will be outlined, researched and written independently. Lab records and photographic documentation will be taken for every technique used on-site. Prerequisites: RES 260 Fresco Painting and Restoration II, or equivalent Advanced Painting and Polychrome Wooden Sculpture Conservation RES 375 F Cr: 3; Contact hrs: 90 Thanks to Florence’s Soprintendenza delle Belle Arti, students will have the opportunity to work with original works of art under the instructor’s supervision. A thesis paper regarding specific techniques or issues in painting conservation will be outlined, researched and written independently. Lab records and photographic documentation will be taken for every technique used on each painting assigned. Prerequisites: RES 275 Painting and Polychrome Wooden Sculpture Conservation II, or equivalent Special Topics in Restoration RES 399 F Cr: 3; Contact hrs: 45 Thanks to Florence’s Soprintendenza delle Belle Arti, the artwork delegated to the Lorenzo de’ Medici Restoration and Conservation Professional Certificate for advanced conservation will give students the opportunity to work with valuable art under the instructor’s supervision. Students will work as a team in an authentic on-site environment in various locations locally and often nationally. Prerequisites: Restoration majors Working Group Project for Painting and Polychrome Wooden Sculpture Conservation RES 400 F Cr: 3; Contact hrs: 60 Thanks to Florence’s Soprintendenza delle Belle Arti, the artwork delegated to the Lorenzo de’ Medici Professional Work Certificate for advanced conservation will give students the opportunity to work on valuable art under the instructor’s supervision. The panel and canvas paintings and polychrome wooden sculpture available at this level will give students a realistic notion of the maneuvers and methods found in the working group environment of a genuine professional conservation studio. An individual portfolio will be put together documenting every technique used in order to authenticate the professional experience acquired during the working group project. Prerequisites: RES 375 F Advanced Painting and Polychrome Wooden Sculpture Conservation, or equivalent Working Group Project for Fresco and Mural Painting Restoration RES 405 F Cr: 3; Contact hrs: 90 Thanks to Florence’s Soprintendenza delle Belle Arti, the artwork delegated to the Lorenzo de’ Medici Restoration and Conservation Professional Certificate for advanced conservation will give students the opportunity to work with valuable art under the instructor’s supervision. Students will work as a team in an authentic on-site environment in various locations locally and often nationally. The fresco and mural painting group will work together and combine their on-site experiences through lab records and photographic documentation. Individual portfolios will be put together documenting every technique used in order to authenticate the professional experience acquired during the working group project. Prerequisites: RES 360 F Advanced Fresco Painting and Restoration, or equivalent School of Creative Arts FLORENCE LdM Academic Catalog 2013-2014 99
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ACADEMIC CATALOG 2013-2014 CELEBRAT
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1.1 CORE VALUES Learning Istituto L
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1.5 MEMBERSHIPS, PARTNERSHIPS AND A
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1.6 LdM-CAMNES COLLABORATION In Fal
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2.3 APPLICATION DEADLINES Fall Seme
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3. INSTITUTE POLICIES 3.1 GENERAL P
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3.3 ACADEMIC POLICIES Introduction
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4. CAMPUS LIFE 4.1 HOUSING The apar
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4.3 STUDENT CLUBS LdM is committed
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5. PROGRAMS OF STUDY 5.1. ITALIAN L
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5.7 LdM-NCRC INTERNATIONAL CONFLICT
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STUDENT ARTWORK 1 4 6 2 7 9 3 5 8 1
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FASHION DESIGN CERTIFICATE 1ST SEME
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INTERIOR DESIGN PROFESSIONAL CERTIF
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Course Descriptions School of Arts
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10. LdM STAFF LIST President Fabriz
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Florentia: the Ancient Roots of Flo
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Regions of Italy 82 Organized Crime
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Florence and Carrara Marble Sculpti
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Silversmithing and Flatware 118 Tre
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Shakespeare’s Italy 140 Masterpie
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LITERATURE 162 Survey of Western Li
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12. COURSE INDEX BY TITLE 3-Credit
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Furniture, Wood Objects and Gilding
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Regions of Italy - 82 Relief Works
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LdM Italy Main Office: Florence, Ro
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aCademiC Catalog 2013-2014 - Lorenzo de Medici

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