Papers by Federica Giacomini
"Studies in Conservation", 2023
This essay focuses on the need for a comprehensively conscious conservation approach when dealing... more This essay focuses on the need for a comprehensively conscious conservation approach when dealing with ancient stone sculptures coming from historical collections, that is to say those antiquities that were collected from the Renaissance onwards and were thus sometimes radically modified due to restorations accomplished between the seventeenth and nineteenth centuries. In the last decades, after the abandonment of the destructive approach of ent-restaurierung (de-restoration) widely practiced during the twentieth century, the preservation of marble accretions has gradually acquired a recognized historical significance, but still today inadequate attention seems to be paid concerning cleaning and surface issues. As demonstrated both by written sources and material evidence, cleaning used to be a crucial and extensive component of historical conservation treatments, often resulting in a dramatic alteration of the ancient piece. Patination and surface applications were part of the historical treatments. As shown by the recent conservation and exhibition of the Torlonia marbles, newly performed treatments aiming at preserving the rich and multi-layered history that sculptures acquired over time should be more careful in considering such aspects, both in terms of treatments and in the exhibition of objects.
https://www.tandfonline.com/eprint/SMGZAB9UBXJNUURDSZ24/full?target=10.1080/00393630.2023.2201091
DOI: https://doi.org/10.1080/00393630.2023.2201091
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"Studi di Storia dell'Arte", 2022
This article emphasizes the high museum standards boasted by the Galleria Borghese in the 19th ce... more This article emphasizes the high museum standards boasted by the Galleria Borghese in the 19th century, when it was still located in the family palace in Campo Marzio. The focus is on the new display of the paintings, arranged by Pietro Rosa around 1840, based on grouping the works upon chronological and geographical criteria, unprecedented in the Roman context. The new arrangement is one of the manifolds measures which, in the course of the 19th century, make the Galleria Borghese the most updated and efficient picture gallery in Rome. Although it was a private princely collection, the Galleria Borghese fulfilled the functions of a public museum, well before its acquisition by the Italian State, in 1902.
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Relazione presentata al convegno internazionale "Mauro Pellicioli e la cultura del restauro nel X... more Relazione presentata al convegno internazionale "Mauro Pellicioli e la cultura del restauro nel XX secolo", Venezia 14-15 novembre 2018, Genova 2022
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Essay from the exhibition catalogue "Il Tesoro di Antichità. Winckelmann e il Museo Capitolino ne... more Essay from the exhibition catalogue "Il Tesoro di Antichità. Winckelmann e il Museo Capitolino nella Roma del Settecento", Rome, Musei Capitolini, 2018.
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This paper - presented at the symposium "Recherches et découvertes à la Trinité-des-Monts. 20 ans... more This paper - presented at the symposium "Recherches et découvertes à la Trinité-des-Monts. 20 ans de chantiers", Rome, Ecole Française - Trinità dei Monti, 2014 - describes the drastic transformations that the church of Trinità dei Monti in Rome went through during the 19th century. The destiny of some preexisting decorative cycles and that of some newly made artworks reflected the dramatic political changes that took place in Rome in the early part of the century and, more broadly, during the whole 1800s.
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This paper demonstrates how the celebrated cycle painted by Raphael and his workshop in the Vati... more This paper demonstrates how the celebrated cycle painted by Raphael and his workshop in the Vatican Logge in 1517-19 gained such a mythical reputation that no real restoration of the cycle was ever accomplished. It was presented in 2013 at the international symposium "La cultura del restauro: modelli e ricezione per la museologia e la storia dell’arte".
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catalogue entry of an exhibition held by Sperone Westwater & Galleria Carlo Virgilio, edited by S... more catalogue entry of an exhibition held by Sperone Westwater & Galleria Carlo Virgilio, edited by S. Grandesso, NY 2013
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Chapter of the exhibition catalogue "L'incanto dell'affresco", exhibition held in 2014 at the Mus... more Chapter of the exhibition catalogue "L'incanto dell'affresco", exhibition held in 2014 at the Museo d'Arte di Ravenna (MAR), Italy, vol. 2
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A central figure in the flourishing art market in Rome at the end of 18th and early 19th century,... more A central figure in the flourishing art market in Rome at the end of 18th and early 19th century, Pietro Camuccini - brother of the painter Vincenzo - holds a significant position in the history of painting conservation in Rome. The paper considers his activity whithin the framework of the conflict between his bold private business as art dealer and the growing consciuosnees of cultural heritage rights.
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This paper focuses on the historical and ethical implications of the practice of detachment of mu... more This paper focuses on the historical and ethical implications of the practice of detachment of mural paintings from their original settings and their transfer on mobile supports. This practice became very common in the 18th century, feeding an eager art market. This paper demonstrates that, in early 19th century, in Rome, where the art market was flourishing, a precocious consciousness of the risks and drawbacks of this practice soon developed and strong limits were opposed against it by the papal authorities. Such position anticipated the pretty negative attitude towards the detachment of wall paintings that art historians would slowly develop only in the late 20th century, and that would consequently lead to the abandonment of this drastic kind of treatment. Pellegrino Succi was a master in this kind of work, and performed challenging detachments, but was strictly controlled by the papal administration.
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The costly and exstensive restoration campaign of the medieval mosaics in the churches of Rome, u... more The costly and exstensive restoration campaign of the medieval mosaics in the churches of Rome, under direction of the painter Vincenzo Camuccini, was a challenging effort for the papal financial system. High quality and complete reconstruction of large missing parts reveal the highly symbolic significance assigned to these mosaics in the age of Restoration. Controversial difference with contemporary approaches in the restoration of paintings is also discussed in this paper.
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Books by Federica Giacomini
2021, Catalogue of the rediscovered Horatius Cocles, a major painting by Vincenzo Camuccini (Rom... more 2021, Catalogue of the rediscovered Horatius Cocles, a major painting by Vincenzo Camuccini (Rome, 1771-1844), commissioned in 1813 by the Prince of Peace Manuel Godoy, during his Roman exile. Previously known only from documentary sources and preparatory sketches, it remerged recently in the antique market and was acquired by Antonacci Lapiccirella Fine Art.
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This book examines in depth the principles and the practice of painting conservation in the Papal... more This book examines in depth the principles and the practice of painting conservation in the Papal State in the early 19th century, that is to say when, for the first time, the conservation of the huge and celebrated painted heritage of the state was recognized to be of public interest and consequently the government took officially charge of it. This event marks the beginning of a tradition that, in Italy, continues uninterrupted today.
The most famous painter of that time in Rome, Vincenzo Camuccini, was named by the pope at the head of the new office of Ispettore delle Pubbliche Pitture. Charged with a great responsibility and, at the same time, taking advantage of the relevant power gained in this field, Camuccini marked with his sensitivity the development of conservation approaches in Rome in the first half of the 19th century. His role extended to museum arrangement, art market and collecting.
Biographical sketches of the main restorers employed by Camuccini (Palmaroli, Candida, Pietro Camuccini) are included, as well as a list of the paintings restored.
This book adds to the knowledge of the conservation history of the artworks, intended both as a significant chapter in the history of art and culture, and as a necessary step for a complete understanding of the complex history that each artwork has gone through.
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Papers by Federica Giacomini
https://www.tandfonline.com/eprint/SMGZAB9UBXJNUURDSZ24/full?target=10.1080/00393630.2023.2201091
DOI: https://doi.org/10.1080/00393630.2023.2201091
Books by Federica Giacomini
The most famous painter of that time in Rome, Vincenzo Camuccini, was named by the pope at the head of the new office of Ispettore delle Pubbliche Pitture. Charged with a great responsibility and, at the same time, taking advantage of the relevant power gained in this field, Camuccini marked with his sensitivity the development of conservation approaches in Rome in the first half of the 19th century. His role extended to museum arrangement, art market and collecting.
Biographical sketches of the main restorers employed by Camuccini (Palmaroli, Candida, Pietro Camuccini) are included, as well as a list of the paintings restored.
This book adds to the knowledge of the conservation history of the artworks, intended both as a significant chapter in the history of art and culture, and as a necessary step for a complete understanding of the complex history that each artwork has gone through.
https://www.tandfonline.com/eprint/SMGZAB9UBXJNUURDSZ24/full?target=10.1080/00393630.2023.2201091
DOI: https://doi.org/10.1080/00393630.2023.2201091
The most famous painter of that time in Rome, Vincenzo Camuccini, was named by the pope at the head of the new office of Ispettore delle Pubbliche Pitture. Charged with a great responsibility and, at the same time, taking advantage of the relevant power gained in this field, Camuccini marked with his sensitivity the development of conservation approaches in Rome in the first half of the 19th century. His role extended to museum arrangement, art market and collecting.
Biographical sketches of the main restorers employed by Camuccini (Palmaroli, Candida, Pietro Camuccini) are included, as well as a list of the paintings restored.
This book adds to the knowledge of the conservation history of the artworks, intended both as a significant chapter in the history of art and culture, and as a necessary step for a complete understanding of the complex history that each artwork has gone through.