Papers by Letizia Montalbano
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1 Trabace, Via Gobetti, 13 75022 Irsina (MT), Italy mdl.trabace@gmail.com 2 Mirabile, 11 Rue de B... more 1 Trabace, Via Gobetti, 13 75022 Irsina (MT), Italy mdl.trabace@gmail.com 2 Mirabile, 11 Rue de Bellefond, 75009 Paris 09, France antonio.mirabile@gmail.com 3 Opificio delle Pietre dure, Via Alfani, 78 50121 Firenze, Italy letizia.montalbano@beniculturali.it 4 Department of Chemistry Ugo Schiff and CSGI, University of Florence, Via della Lastruccia 3, Sesto Fiorentino, 50019 Florence, Italy giorgi@csgi.unifi.it and ferrari@csgi.unifi.it
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OPD restauro n. 32, 2020
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Scientific Reports
Studying highly valuable and fragile Renaissance drawings requires a non-invasive contactless ana... more Studying highly valuable and fragile Renaissance drawings requires a non-invasive contactless analytical approach. In this work, we study an early drawing by Raffaello Sanzio, one of the most important artists of the Italian Renaissance, realized during his stay in Florence (1504–1508). Our analyses aimed to reveal the features of the paper support significant for its dating, identify and map the drawing media to understand the artist’s technical approach, and document the drawing condition with imaging and single-sited optical methods. Reflectance Vis–NIR multispectral imaging spectroscopy elaborated with False-Colour and Principal Component Analysis provided information about the paper support and the drawing media. Laser scanning micro-profilometry and Optical Coherence Tomography allowed revealing the superficial micro-scale features of the support. The chemical composition of the different drawing materials was characterized by μ-Raman spectroscopy, which provided also some evi...
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Anuario TAREA, 2017
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The daughter of the painter Antonio Bueno (1918-1984) describes her father's working techniqu... more The daughter of the painter Antonio Bueno (1918-1984) describes her father's working technique and the artists he knew and was influenced by. He preferred painting in oil, often produced preparatory drawings and towards the end of his life, turned also to the use of graphical techniques, such as engraving, dry point etc. Illustration in colour and B/W of the following: Concerto campestre per Giorgione, 1984; Serie di volte, 1961; Preistoria contemporanea, 1965; Liaisons dangereuses, 1964; Il pittore e la modella (d'apres Giorgione); Esecuzione no.2, 1953; Profilo di donna e pipa, 1956; Rebus -il neopompiere e la modella, 1969; Nudo con fiori, 1947.
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On occasion of the exhibition 'Venus and Love. Michelangelo and the New Ideal Beauty' at ... more On occasion of the exhibition 'Venus and Love. Michelangelo and the New Ideal Beauty' at Florence's Galleria dell'Accademia, June-November 2002, it was decided to transport the charcoal drawing on paper to the Opificio delle Pietre Dure's Paper Conservation Laboratory for condition assessment and technical study. A conservation treatment was developed with the aim of recovering the structural and aesthetic unity of the cartoon without modifying the consolidation and current mounting system, the result of an intervention undertaken 10 years earlier. Mechanical cleaning removed solid residues deposited on the surface. Areas of loss were filled with Japanese tissue paper adhered with methycellulose and chromatically integrated with the tratteggio technique. A renewed reading of the work is now possible thanks to the recovery of the work's graphic force.
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Il restauro del grande disegno su carta trasparente di Giovanni Pellizza da Volpedo completa una ... more Il restauro del grande disegno su carta trasparente di Giovanni Pellizza da Volpedo completa una serie di interventi eseguiti dal settore Restauro Disegni e Stampe dell’Opificio su alcune opere grafiche del pittore, conservate nella sua casa studio di Volpedo, ora museo e fondazione.
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La conservation: une …, 1997
Close Document Image Close Document Printer Image Print This Document! Conservation Information N... more Close Document Image Close Document Printer Image Print This Document! Conservation Information Network (BCIN). Author: Matteini, Mauro; Montalbano, Letizia; Rossi Scarzanella, Chiara; Vaccari, Maria Grazia Title Article ...
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Country: Italy, 1996
Close Document Image Close Document Printer Image Print This Document! Conservation Information N... more Close Document Image Close Document Printer Image Print This Document! Conservation Information Network (BCIN). Author: Matteini, Mauro; Montalbano, Letizia; Rizzi, Maria; Rossi Scarzanella, Chiara; Et Alii Title Article ...
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Country: Italy, 1996
Close Document Image Close Document Printer Image Print This Document! Conservation Information N... more Close Document Image Close Document Printer Image Print This Document! Conservation Information Network (BCIN). Author: Matteini, Mauro; Montalbano, Letizia; Rizzi, Maria; Rossi Scarzanella, Chiara; Et Alii Title Article ...
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ICOM Committee for …, 2002
... Author: Montalbano, Letizia; Frosinini, Cecilia; Duval, Alain; Guicharnaud, Helene; Casu, Giu... more ... Author: Montalbano, Letizia; Frosinini, Cecilia; Duval, Alain; Guicharnaud, Helene; Casu, Giuseppe Corporate Author: ICOM Committee for ... Pigment; Conservation; Literary source -- ICCROM Subject Date: Renaissance Subject Person: Botticelli, Sandro; Lippi, Filippino Abstract ...
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Papers by Letizia Montalbano
L’esigenza di allargare il campo analitico ha richiesto pertanto, oltre all’intervento del Dipartimento di Medicina Sperimentale e Clinica dell’Università degli Studi di Firenze , della Fondazione dell’Ospedale di Santa Maria Nuova, l’apporto del CHNet dell’Istituto Nazionale di Fisica Nucleare in collaborazione con la New York University di Abu Dhabi, e dell’Opificio delle Pietre Dure di Firenze, relativamente a significative indagini diagnostiche non invasive.
Organogels based on the crosslinking of poly(methyl methacrylate) and poly(ethyl methacrylate) loaded with diethyl carbonate have been tested as a new removalsystem, made of gel and a non-toxic solvent. Applied directly on the PST, they ledto removal of the backing and the adhesive of the PST.
che promuove all’estero sette istituti di eccellenza del Ministero dei Beni e delle Attività Culturali e del Turismo, permettendo a studenti e restauratori di tutto il mondo di partecipare a stage e tirocini presso
i laboratori di restauro dell’Opificio delle Pietre Dure di Firenze