Methodological notes for the restoration of the “Madonna and Child Reading” by Andrea Solario

by Paola Zanolini, restorer
The restoration of a board painting is always a complex intervention as it has to deal with different conservation issues: those involving the support, the pictorial layer, the gilding and even the frame.

Fontana Arte. The light of modernity

The peculiarity of Italian design is to have changed the perception of the industrial object from a craft product reproduced in a serial form, to ‘open form’ of creativity that evolves and becomes the image of an era and a taste.

Modigliani & Wahrol. The signs of modernity

In the next auction in Milan of Modern and Contemporary Art on…

The Atlantic Cruise Triptychs. A philatelic myth in flight

The Atlantic Decennial Cruise was organised by Italo Balbo in 1933 (…)

Paint the colors and signs of the imagination

The sale of Old Masters and 19th Century Paintings on May 18…

Gioacchino Assereto and dark naturalism

Gioacchino Assereto distinguished Genoese painting during the first half of the seventeenth…

Furnishing with eclectic imagination

In the next auction of Furniture, Sculptures and Art Objects to be…

The Good, the Bad, the Ugly and the Scars of Nostalgia

Right from the opening credits The Good, the Bad, the Ugly declares its intentions to ‘historicise’ narrative content in a different way. Not only is there a cannon among the weapons that carve and then dissolve the director’s name (…)

Bronze icons and the charm of essential beauty

The copper alloy objects constitute the largest group of church furnishings from Russian Christianity in ancient times. They are largely conserved in Russian collections both private and of museums, but they are also found in many western European collections.

Farnese Service. The memory of picturesque landscapes

The polychrome porcelain plate from the Naples Porcelain Manufactory datable between 1784 and 1788 and decorated with a View of Vesuvius, taken from Monte S. Angelo at the Monis. re de Camandoli (as inscribed) (…)