{"id":9328,"date":"2024-12-19T15:54:09","date_gmt":"2024-12-19T14:54:09","guid":{"rendered":"https:\/\/www.centrorestaurovenaria.it\/?p=9328"},"modified":"2024-12-19T16:09:40","modified_gmt":"2024-12-19T15:09:40","slug":"il-restauro-de-ladorazione-dei-magi-di-andrea-schiavone","status":"publish","type":"post","link":"https:\/\/www.centrorestaurovenaria.it\/eng\/il-restauro-de-ladorazione-dei-magi-di-andrea-schiavone\/","title":{"rendered":"The restoration of Andrea Schiavone\u2019s The Adoration of the Magi"},"content":{"rendered":"
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TheAdoration of the Magi<\/em> by Andrea Schiavone is one of the masterpieces of the Dalmatian painter and engraver, active in Venice between the forties and sixties of the sixteenth century.<\/p>\n

The work, executed around the middle of the 16th century, is distinguished by the formal elegance and sinuousness typical of Parmigianino models, combined with the materiality and chromatic brilliance of Venetian painting.
\nThe composition is dominated by a large twisted column on the left side, which is the background to the figure of the kneeling king, intent on kissing the feet of the Child held in his arms by the Madonna.
\nThe dynamism of the figures, combined with an almost abstract setting, gives the scene a lively and engaging atmosphere, typical of lagoon mannerism.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Restoration and enhancement by the \u2018La Venaria Reale\u2019 Conservation and Restoration Centre<\/span>
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\nThe conservative intervention carried out on the Adoration of the Magi by Andrea Schiavone has made it possible to deepen the knowledge of its history<\/strong> and technical procedures adopted by the artist<\/strong>.<\/p>\n

Due to the extraordinary technical qualities and the complexity of the intervention, the work has also been the subject of a training course for the students of the Degree Course in Conservation and Restoration of Cultural Heritage<\/strong> (University of Turin in agreement with the JRC).<\/p>\n

The delicate work of recovery was supported by an articulated diagnostic campaign<\/strong>. Advanced analytical techniques have made it possible to investigate the creative process of the artist, highlighting \u2013 for example \u2013 some rethinking that took place during the sketching phase, and to reconstruct with
\nprecision of the pictorial palette. Among the pigments identified, the organic red lacquer stands out for its intensity, while among the mineral colors a wide use of the precious azurite is documented.<\/p>\n

The<\/strong> Cleaning phase<\/strong>, aimed at the selective and gradual removal of the yellowed layers of paint, the tone retouching and the repainting that can be traced back to previous restorations, has made it possible to recover the original pictorial material in its values of brilliance and chromatic vivacity.
\nThe<\/strong> long phase of aesthetic restitution<\/strong> The main objective of the project was to mend the continuity of the painted surface, interrupted by various lacks of colour, also thanks to the comparison with the historical photographs of the work, dating back to the early 20th century.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Until 4 February 2025, the work is on display at the Pinacoteca Ambrosiana in Milan.<\/strong><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

Find out more <\/i><\/a><\/div>
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