Autumn/Winter 2022

More documents

Recommendations

Info

IN PROGRESS AT THE MUSEUM OCTOBER 2022 TO APRIL 2023 We’d like Florence and its countless international visitors and expats to meet Artemisia in person! Fondazione Casa Buonarroti president, art historian and author Cristina Acidini, welcomed the painting – which has never been in the public eye at such close range before – by sharing her initial impressions: “It was very exciting to have the opportunity to examine the canvas close up. Underneath the altered varnish, we can see that the painting is of extremely high quality. We know that Artemisia was an extraordinary painter and the Inclination confirms it. If you look at the softness of the skin, the tenderness of her forms, the figure’s luminosity and even her very complex hairstyle – all of these elements are sure to prove very interesting once its complete legibility is achieved.” During museum opening hours, the artloving public will have the opportunity to see the Allegory of Inclination restoration project in progress, thanks to a worksite set up in Casa Buonarroti’s ‘Model Room’. Head conservator Elizabeth Wicks will be available to answer questions from the public, on Fridays. Those who will not be able to make it to Florence in person can count on getting a glimpse of the process, thanks to a series of short videos created by Florence-based filmmaker Olga Makarova. The first segment, ‘Artemisia, The Descent’ has already gone viral on social media. For more on the science-side of the restoration, see page 52. EXHIBITION AND PUBLICATION PLANS SEPTEMBER 2023 TO JANUARY 2024 “Artemisia UpClose will transform into a future exhibition at Casa Buonarroti, scheduled for next September,” says museum director Alessandro Cecchi, who is overseeing the project, together with Jennifer Celani, official for the Archaeological Superintendence for the Fine Arts and Landscape for the metropolitan city of Florence. Although full exhibition details are still in the development phase, Dr. Cecchi shares the following, “The show will spotlight conservation findings and explore the context surrounding the painting’s creation, including the significance of her Florentine debut and her key relationships with Grand Duke Cosimo de’ Medici and the city’s cultural milieu.” Again, those unable to see the show in person, can still have a keepsake from the exhibition: the English language exhibition catalogue (The Florentine Press, 2023) will be finalised next summer, and later, flanked by the Italian language publication ‘Buonarrotiana’ series (2023 edition) featuring specialist studies on Artemisia and her time, followed by a lecture series with major scholars in response to the show. Right, top left: Conservator Elizabeth Wicks uses a digital microscope to examine the painting’s condition. Right, top right: Conservator examines re-painting by Il Volteranno. Right: Phase-1 diagnostics, Artemisia UpClose. 42 Restoration Conversations • Autumn / Winter 2022
Autumn / Winter 2022 • Restoration Conversations 43
Page 1 and 2: Restoration Conversations ISSUE 2,
Page 3: From the Editor As we conclude prep
Page 6 and 7: Above: Jazz band, Wanda Wulz, 1931,
Page 8 and 9: Above: ‘Fotografe!’ exhibition
Page 10 and 11: MADAME D’ORA (1881-1963) was a Vi
Page 12 and 13: Above: Marion Wulz in the dress by
Page 14 and 15: Above: Portrait of Julia Margaret C
Page 16 and 17: Above: Vivien and Merlin (sitters A
Page 18 and 19: Edith Arnaldi A ‘woman of the fut
Page 20 and 21: Above, left: Somalia, 1951, Edith A
Page 22 and 23: Futurist women appear to have taken
Page 24 and 25: 24 Restoration Conversations • Au
Page 30 and 31: Enjoying the show: This page, left:
Page 36 and 37: Below: Donor Wayne McArdle shares f
Page 40 and 41: Artemisia UpClose Many ways to see
Page 46 and 47: A veiled issue The hows and whys be
Page 48 and 49: Left: Portrait of Robert Browning,
Page 50 and 51: Below: Detail, The Last Judgment, S
Page 52 and 53: PLANS AND PULLEYS Elizabeth Wicks,
Page 58 and 59: Above: Model of the facade of the S
Page 60 and 61: Left: Biffoli-Sostegni Manuscript.
Page 62 and 63: Over the course of 30 years, Musica
Page 64 and 65: Left : Galileo Galilei: the Torre d
Page 66 and 67: Above, top: Laurie Stras, centre, a
Page 68 and 69: Death of a Duchess Historical ficti
Page 70 and 71: Above: Casa Guidi, where the Browni
Page 72 and 73: lockdown, when many of us experienc
Page 74 and 75: ‘More Bill’, many Kennedys A sp
Page 76 and 77: stand back, you can see it’s a mo
Page 80 and 81: Left: Paula Modersohn-Becker, Self-
Page 82 and 83: Marianne Werefkin, Twins, 1909. Tem
Page 84 and 85: Marianne Werefkin, The Contrasts, 1
Page 86 and 87: Above, left: Gabriele Münter, Self
Page 92 and 93:
Left: Director Elena Baistrocchi, (
Page 94 and 95:
Above and right: Some of the beauti
Page 96 and 97:
In phrase three, an artisan becomes
Page 98 and 99:
Grazie Mille As always, we are grat
Page 100:
100 Restoration Conversations • A
show all

Autumn/Winter 2022

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?