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Ladataan... Giotto: The Frescoes of the Scrovegni Chapel in PaduaTekijä: Giuseppe Basile, Francesca Flores d'Arcais
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Kirjaudu LibraryThingiin nähdäksesi, pidätkö tästä kirjasta vai et. Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta. Présentation de l'éditeur Cet ouvrage est la monographie officielle, réalisée par l’ICI (l’Institut de restauration de Rome), sur la restauration des fresques de la chapelle Scrovegni de Padoue. Les fresques, peintes par Giotto entre 1303 et 1305, illustrent des épisodes de la vie du Christ, de sa passion, de sa mort puis de sa résurrection, et enfin du Jugement dernier. L’artiste a introduit dans son oeuvre des éléments et des personnages contemporains de son époque, situant les scènes bibliques dans une architecture gothique. Sa maîtrise technique lui permet de créer une illusoire sensation de profondeur. Son utilisation des couleurs est tout aussi étonnante : vives et franches, couvrant une extraordinaire gamme, elles adoucissent les contours et donnent épaisseur et majesté aux personnages. L’ouvrage permet une vision rapprochée de la fresque, proposant de nombreux détails en gros plans et nous explique l’importance du travail de restauration pour la lisibilité de l’oeuvre. L'auteur vu par l'éditeur Giuseppe Basile a dirigé les travaux de restauration. ei arvosteluja | lisää arvostelu
At the end of a program of restoration that lasted an incredibly short time, but for which preparations had been made down to the smallest detail over twenty years of scientific investigation, historical research, laboratory experimentation, essays, trials and monitoring, one of the most fundamental cornerstones and certainly the most dazzling incunbala of modern European painting has been reopened to the public. Preceded by long and complex preparatory work on the building and the surroundings, the intervention of conservation on the mural decoration has made it possible to arrest the acceleration of the process of decay. This decay was chiefly the result of the combined action of damp and pollution, but had been further aggravated by the use of unsuitable restoration materials during the intervention carried out in the early sixties. Once the problem that had prompted the decision to intervene on Giotto's cycle had been resolved, it was thought only proper to respond to the need to restore the paintings as much as possible to their original state. The result has been to render the revolutionary spatial layout of the work more legible, along with the formal values through which Giotto expressed himself, in particular the quality of his coloring, something that is usually (and inexplicably) undervalued. But several genuine discoveries have also emerged, such as his use of the technique required to make mock marble ("marmorino" or "Roman stucco") and of oil to "bind" the white lead, which as a consequence has not undergone any process of alteration. This has revealed, at an unparalleled level (at least as far as our current knowledge is concerned), effects of sunlight orluminosity that it would be hard to regard as produced by chance. Kirjastojen kuvailuja ei löytynyt. |
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