48mc01-AC-2009_Torre Pellice, Galleria Civica d'Arte Contemporanea "Filippo Scroppo", P. Gallizio, Antiluna, inv. 3021

Facilitated description: 

 

Antiliuna is a painting on canvas. 
The painter Giuseppe Gallizio (called Pinot) made the painting in 1957. 
The painting is kept at the Galleria Civica d'Arte Contemporanea Filippo Scroppo in Torre Pellice. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2009. 
The scientists of the Venaria Center have done scientific analysis to study the colors and materials of which the work is made. 
The restorers cleaned up behind the painting.
They eliminated the folds of the painting with moisture and pressure. 
They cleaned the front of the painting of dust and substances accumulated over time. 
They stopped the parts of color that were peeling off.
In the end they filled the color gaps with paint colors. 

 

 

 

 

Abstract of the intervention: 

 

The work of the Galleria Civica d'Arte Contempoeanea "Filippo Scroppo" in Torre Pellice was restored as part of a tender by the Province of Turin for the recovery of works of art from the small municipalities of the territory during which the JRC restored several works (Christ nailed to the cross of the Church of Santa Maria di Pulcherada in San Mauro Torinese; The Virgin of the Rosary of the Church of San Giorgio Martire in Reano; a wooden crucifix of the Chapel of the Fallen of Alpignano; a piece of furniture from the sacristy of the Chapel of San Carlo in Borgiallo). 
The restoration, accompanied by a diagnostic survey, provided the opportunity for an in-depth educational path for the students of the fourth year of the Interfaculty Degree course in Conservation and Restoration of Cultural Heritage. 

 

Restoration

The intervention began with a cleaning on the back of the painting with brushes and vacuum cleaner. During this operation, the ten pieces of thermoadhesive synthetic canvas and glue residues were removed. At the most significant folds and wrinkles the canvas was humidified indirectly from the verse in a localized way and then put under pressure to ensure a smoothing of the deformations. Raised color scales have been consolidated and lowered. It was then performed the chemical cleaning of the pictorial film from the deposits of coherent and inconsistent. Finally, the small gaps of pictorial film were replenished with paint colors for restoration.

 

Bibliography and conferences

- S. Abram, T. Poli, T. Radelet, A. Rava and S. Vázquez Pérez, Antimoon of Pinot Gallizio. The recovery and restoration of a divided work, in The State of the Art 8, proceedings of the IGIIC annual international congress (Venice, 16-18 September 2010), Florence 2010, p.105;
- S. Abram, O. Chiantore, L. Degani , T. Poli, T. Radel t , A. Rava, S. Vaquez, The Recovery of a Divided Work: Antiluna by Pinot Gallizio. Symposium Contemporary Art who Cares II, Amsterdam, Royal Tropical Institute (KIT), 2008;
- A. Rava, M. T. Roberto, S. Vázquez Pérez, Antiluna de Pinot Gallizio. La restauracion de una obra dividida,  in 11a Jornada de Conservación de Arte Contemporáneo, Museo Nacional Centro de Arte Reina Sofía (Spain), 2010, pp. 105 - 112.