Friday, February 14, 2014

Dive into these considerations can not forget me begin this premise. Whether working directly on th

REFLECTIONS ON CLEANING painted surfaces. | Unicum
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This article presents a critical review of traditional systems of polychrome surfaces clean at the same time posed proposed new methodologies. It is, moreover, a very interesting and necessary reflection about the toxicity of solvents and standards of conduct to address these types of so delicate and irreversible processes.
This document paa is the result of a request made by Maria Theresa Paolo Cremonesi Orengo, head of the restoration laboratory of the Region of Liguria (Italy), and the author has kindly donated it to be translated and published in our magazine. [1] [2]
Since 1992 I deal with methods of cleaning paintings and polychrome surfaces that try to combine the protection of the health and safety of the operator's workspace with respect paa to the structural integrity of the work. Among the steps taken to promote awareness and use of these methods paa in 1995 I prepared a course for professional development restorative "cleaning materials and methods of polychrome works" course which then brought over forty Italian cities and, more recently, also abroad, thanks to the interest of many individuals and private and public institutions that have given me their confidence, so they occupy all the space in this introduction.
In 1999 on the initiative of the then director of the restoration laboratory of Soprintendenza for artistic and Beni e della Liguria paa Storici Piero Donati, this course was held in Genoa for the restoration laboratories Soprintendenza and restoration of the region. Although we did not have a personal direct Piero Donati was aware of the work that I was developing in the opificio delle Pietre Dure (OPD) of Florence, with the launch of a cleaning method for the cross Guglielmo Cathedral of Sarzana, by which he himself had promoted the restoration of the OPD. This "curiosity" paa toward new methods, together with attention to fine art, were the basis for the initiative. The course, which began in the laboratory of Soprintendenza, followed by technical reasons and what was then the laboratory programm e Strutture Culturali Servizio della Liguria, thanks to the availability of Maria Theresa Orengo, was the opportunity to start a collaboration that continues in various paa ways. In particular, the restoration of the region deepened even more improvement in his way of attending other courses on new methods of cleaning, and then putting them into practice in their laboratory activities.
Dive into these considerations can not forget me begin this premise. Whether working directly on the work with our hands, or just talking about it, the feeling is always the same: we all make mistakes (chemist, historian, restaurateur, etc..) If we face the problem from one perspective only competition (eg scientific), not considering other (historical, artistic, etc.).. I'm very aware of this and, consequently, the fact that it can also be applied to the considerations I will then.
Among the many catering operations, cleaning up the image of a work painted seems to be more likely to provoke strong emotions and reactions. Among the many events we remember only the case closer to us in time: the debate about the "readability" the magazine Kermes paa housed in its pages. [3]
In a recent conference dedicated to cleaning [4] have established a well-defined positions. First, paa as emphasized Ciatti, cleaning paa should not be considered as an intervention

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