3D Digital Investigation for Canvases and Painted Panels

Colour and 3D rendering of San Giorgio by Cosmé Tura at Galleria di Palazzo Cini
Detail of the surface of The Crucifixion by the Master of the Lindau Lamentation, courtesy of Museum Catharijne Convent
Printing the colour of the facsimile of The Crucifixion by the Master of the Lindau Lamentation © Oak Taylor Smith for Factum Foundation
The Lucida 3D Scanner recording The Creation of the Animals © Factum Foundation
Recording The Creation of the Animals by Tintoretto at Gallerie dell'Accademia © Factum Foundation
Handwoven historical patterns recostructions at Factum Foundation

key details

7 and 14 March 2024
Online on Zoom
3pm — 5pm (CET)

about

Online course featuring two projects undertaken by ARCHiVe, alongside other case studies: the digitisation of the Palazzo Cini Gallery (47 panel paintings) and the digitisation of a painting by Jacopo Tintoretto from the collections of the Gallerie dell’Accademia in Venice (The Creation of the Animals, 1550-1553). The course offers a detailed examination of the digital recording of these works and the investigative opportunities afforded solely through the three-dimensional digital recording of painting surfaces and supports.

In addition to unveiling 3D digital acquisition techniques, the meetings are intended as moments of restitution and exchange to disseminate the research possible thanks to this type of technology applied to Cultural Heritage. Therefore, the course shares the outcomes of the reconstruction of The Crucifixion by the Master of Lamentation from Lindau in Utrecht and the recreation of historical textile patterns derived from digital analyses of pictorial surfaces on both panel and canvas.

Programme

Class 1 March 7, 2024

Painting on panel

  • Luca Massimo Barbero | Fondazione Giorgio Cini
  • Sanne Frequin | University of Utrecht
  • Carlos Bayod Lucini | Factum Foundation

Two case studies compared: the three-dimensional recording of panel paintings in the Gallery of Palazzo Cini in Venice and the reconstruction of The Crucifixion by the Master of Lamentation of Lindau in Utrecht.

 

On this occasion the results of the first three-dimensional, high-resolution digitisation campaign of the painted panels in Palazzo Cini, carried out by the Factum Foundation in collaboration with the Cini Foundation, will be presented. The campaign is part of the activities promoted by the Foundation to preserve, publicise and make the collections more accessible.

Next, the results of a project to digitise, digitally restore and rematerialise a panel work from the first half of the 15th century, the Crucifixion by the Master of Lamentation of Lindau, the result of a collaboration between Factum Foundation, Museum Catharijne Convent, Utrecht University, Leiden University and Technische Universiteit Delft. The project intends to demonstrate how digital technologies and facsimile production can be part of the decision-making process in the field of conservation, becoming a possible alternative to physical intervention on the objects.

Class 2 March 14, 2024

Painting on canvas

  • Cleo Nisse | University of Groeningen
  • Helena Loermans | Lab O
  • Carlos Bayod Lucini | Factum Foundation

The analysis and creation of historical textile patterns and the digitisation of Tintoretto’s The Creation of Animals as case studies.

 

The second appointment, dedicated to paintings on canvas and the micro-analysis of the supports, sees the participation of a weaver specialised in the manual creation of historical textile patterns to support technical art history (particularly Italian and Spanish between the 15th and 17th centuries) to present a recent rematerialisation project made possible thanks to the digital acquisition of the original supports. This will be followed by a researcher who focuses her investigations precisely on canvas supports in relation to the pictorial language of Venetian works from Bellini to Tintoretto. In both cases, the aim is to demonstrate how this type of micrometric investigation can now be carried out more comprehensively thanks to high-resolution three-dimensional digital surveys.

lecturers

luca massimo barbero

Historian and critic of modern and contemporary art, he is Director of the Institute of Art History at the Fondazione Giorgio Cini in Venice, and scientific advisor to the Lucio Fontana Foundation in Milan. He is the author of numerous publications and exhibitions on the art of the Italian post World War II period.

sanne frequin

She is an art historian who specialises in digital art history. Her research focuses on the digital reconstruction of lost or damaged artefacts and on the use of digitised artefacts for research and education. The projects of Sanne Frequin concern mediaeval and early modern art and digital reconstruction. Sanne Frequin is the academic coordinator of the master Art History at Utrecht University.

A portrait of professor Sanne Frequin. A woman wearing glasses smiles at the camera with confidence.

carlos bayod lucini

He is Project Director at the Factum Foundation. His work is dedicated to the development and application of digital technology to the conservation, study and dissemination of Cultural Heritage. Bayod has taught at the MS in Historic Preservation at Columbia University in New York among other institutions, and is a frequent speaker for centers such as Museo del Prado, Harvard Art Museums and Fondazione Giorgio Cini. 

Portrait of architect Carlos Bayod looking intensely at the camera.

cleo nisse

She is Assistant Professor of Early Modern European Art at the University of Groningen. Her research concentrates on the materials, techniques, and meanings of artistic practices, complemented by a concern for how artworks change over time. After postgraduate studies in painting conservation at the Courtauld Institute, her Columbia University PhD investigated the significance of canvas supports for Venetian painting from Bellini to Tintoretto.

A portrait of professor Cleo Nisse smiling at the camera immersed in the nature.

helena loermans

She has been a weaver since 1960. Now a member of CIETA, in 2017 she founded Lab O, a research laboratory focusing on the hand-woven patterned canvases used by the Spanish and Italian Old Masters. Photomicrographs, x-ray images, 3D recordings and softwares for generating weave drafts, allowed Loermans at Lab O, to reconstruct the weave drafts of patterns in Old Master paintings’ canvases and reweave the textiles on a hand loom.

Portrait of the weaver Helena Loermans. A mature woman posing in front of the camera showing confidence and a smiling face. She is wearing a bright yellow tunic and flamboyant necklaces.
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