Restoration of Jacopo da Pontormo altarpiece reveals unrecorded drawing clearly visible at the top. LONDON.- At the end of November 2012, Pontormo’s altarpiece, depicting a Sacred Conversation with the Madonna and Child, St John the Evangelist, St Francis and St James, was removed from the church of San Michele Visdomini for restoration in preparation for the exhibition Pontormo and Rosso. The Diverging Paths of Mannerism, at Palazzo Strozzi, Florence, from 8 March to 20 July 2014. During its removal, an interesting discovery was made: a charcoal drawing of a male figure, wearing a long tunic belted at the waist and bending over a work table, is clearly visible at the top of the altarpiece.
Pontormo’s hand is identifiable in the rapid and unhesitant definition of the figure, seen from behind, in a style that is compatible with the preparatory drawings for the altarpiece, painted in 1518. The altarpiece was commissioned by Francesco di Giovanni Pucci for the church of San Michele Visdomini , where it has remained to this day. Sacred - Turning the Pages. Upholstery fabrics 2. Antique Restoration. How to Repair a Paperback Book. Kraeppellin A.C. Bank of America Merrill Lynch calls for 2013 Art Conservation Project submissions. LONDON.- Bank of America Merrill Lynch announced that its 2013 global Art Conservation Project is open for applications. Submissions are welcome from not-for-profit arts and cultural institutions that have significant works of art across all media, requiring conservation.
Submission deadline is 30 November 2012. The Bank of America Merrill Lynch Art Conservation Project is a unique initiative that provides grants to not-for-profit organisations throughout the world to conserve historically or culturally significant works of art that are in danger of degeneration, in order to preserve them for future generations. Introduced in 2010 across Europe, the Middle East and Africa, the programme was expanded this year to include the U.S., Asia Pacific and Latin America.
Applicants can submit proposals online: Www.visitmexico.com/es/pueblosmagicos/region-centro. “Conservación y restauración de arte contemporáneo: entre el concepto del artista y la propuesta de intervención” “Conservación y restauración de arte contemporáneo: entre el concepto del artista y la propuesta de intervención” Autora: Alma Mª Barberena Fernández Profesora de la Escuela Superior de Arte del Principado de Asturias Introducción La actividad que aquí se plantea es lo más parecido a un simulacro de relación laboral entre artista y restaurador-conservador de obras de arte contemporáneo.
Aquí, cada participante va a jugar dos papeles en diferentes momentos; à por un lado actuará como artista acercándose a una obra de un artista prestigioso previamente seleccionado de un listado. Àlos otros participantes actuarán como conservadores y/o restauradores ante las obras que otros artistas (compañeros) vayan exponiendo, proponiendo posibles intervenciones a alteraciones que el artista presenta. Esta actividad ha sido desarrollada a partir de la reflexión durante la elaboración de la programación de la asignatura de Conservación de Materiales no Tradicionales.
Tarea Sobre los artistas: Evaluación. Museo Reina Sofía. Coloured Pencil Lightfastness « Coloured Pencil Society of Canada. Written by Manon Leclerc, CPSC Member photos © Manon LeClerc This article was originally published in the webzine “Crayons de couleur, le Mag” in November 2011. The webzine is available at: Resistance to light is a major issue for all artistic media, including coloured pencils. Artists must take into consideration the quality of products used to ensure the long-lastingness of their works.
Coloured pencil is no exception. Many coloured pencil artists assume that all artist-quality pencils have excellent resistance to light. Artist-grade pencils are made with pigments and binders of better quality than those in student- or middle-grade pencils, so artist-grade pencils are more likely to resist fading. Why is this important? The durability of a work in coloured pencil is just as important as that of a work in oil or acrylic. Professional artists are not the only ones who ought to be concerned to ensure the ability of their work to last. Standards. ..:: Dirección de Monitoreo Atmosférico ::.. Memoria de restauración de una pieza de vidrio.
Www.agaragar.net/Galerias/archivos/catalogo_agar.pdf. Www.physics.utoronto.ca/~phy189h1/Causes of Color scientificamerican1080-124.pdf. Ciencia - Descubren la cocina más antigua de la humanidad. Martes 03 de abril de 2012EFE | El Universal14:42 Paleontólogos de la Universidad de Witwatersrand (WITS), en Johannesburgo, han descubierto en una cueva del norte de Sudáfrica los indicios más antiguos del uso controlado del fuego para cocinar alimentos, informó hoy esa institución.
Los investigadores de la WITS encontraron en la caverna de Wonderwerk (provincia de Cabo Norte) huesos, hojas y piedras quemadas, que apuntan al uso intencionado del fuego para cocinar alimentos en los inicios de la era Achelense (Paleolítico Inferior) , con una antigüedad de cerca de un millón de años. "Estos indicios muestran que los homínidos conocían la tecnología del fuego hace cerca de un millón de años", señalan los paleontólogos sudafricanos, que han colaborado con investigadores de de Estados Unidos y Canadá.
Huesos de animales calcinados, además de hollín en las piedras y restos de hojas quemadas, apuntan al uso del fuego para la preparación de alimentos. lae. Napolitano académico: Caravaggio fue asesinado en Palo - Nápoles - Repubblica.it. Vincenzo Pacelli, Università di Napoli: fu omicidio di Stato 'Assurdo' pensare che il Caravaggio possa essere stato sepolto con indosso il pesante mantello da cavaliere di Malta. Convinto che il pittore sia morto a Palo di Ladispoli e non a Porto Ercole, come indica la storiografia ufficiale, il professor Vincenzo Pacelli, ordinario di storia dell'arte dell'università Federico II di Napoli, smonta anche i criteri della ricerca in base alla quale un anno fa è stato annunciato il ritrovamento delle ossa del genio lombardo nella cittadina toscana.
Per lo studioso- cui si deve anni fa l'attribuzione del Martirio di Sant'Orsola- è impossibile che il Merisi, avesse ancora con sè l'ingombrante mantello da cavaliere gerosolimitano e la spada da miles. Le immagini/ I documenti Questo per una questione di praticità ("come avrebbe fatto a portarli con sè in tutte le sue fughe compresa quella 'impossibile' dalla prigione maltese? ")