That of the gap (the loss of materials and colors) is perhaps the most debated argument in the philosophy of restoration to this day. Although the numerous theories on filling the gap were sometimes contradictory, all of them are still current and applicable. How do we deal with the gap in Europe and especially in Italy? How much of it do we fill? Does the restoration have to be recognizable, should I hide the pictorial retouch or should it stand out? Is there a common criterion that is applicable to all types of support? In other words, does ethics or aesthetics prevail? The essay examines some exemplary cases of restoration of polychrome sculptures, including della Robbia works, inside the restoration laboratories of the Opificio delle Pietre Dure in Florence. We analyze the criteria regarding the reconstruction of the gap in modeled works, including the use of 3D scanning technique, and the pictorial retouch in the color gap. We analize also what we call the "dual gap”, i.e. the copresence of both the modeling gap and the pictorial gap, which opens the way for a new philosophical debate between ethics and aesthetics of restoration.
Funzionario storico dell'arte, Opificio delle Pietre Dure
Graduated and specialized in Art history in Florence University, I'm employer of the Italian Ministery of Cultural Heritage as Director of the Department of Conservation of Terracotta and Wooden Sculpture at the Opificio delle Pietre Dure in Florence. I directed several restorations... Read More →
I'm an objects conservator, specializing in terracotta. I graduated from the Higher School for Conservation and Restoration of the Italian National Institute of Conservation of Florence, the Opificio delle Pietre Dure. I work in private practice and part of my work is in collaboration... Read More →
Tuesday May 30, 2017 4:30pm - 5:00pm CDT
Crystal Ballroom BLobby Level, West Tower
