Giotto
Subtitle: the frescoes of the Scrovegni Chapel in Padua
By: edited by Giuseppe Basile ; texts by Giuseppe Basile, Francesca Flores d'Arcais ; photographs by Angelo Rubino.
Contributors: Basile, Giuseppe, 1942-; Flores d'Arcais, Francesca.; Rubino, Angelo.; Istituto centrale per il restauro (Italy)
Edition: 1st ed.
Publisher: Skira; Distributed in North America and Latin America by Rizzoli International Publications, Inc. through St. Martin's Press; Rizzoli International Publications, Incorporated
Published: 2002
Place of publication: Milan; New York
Language: eng
Number of pages: 453
Subjects: Giotto, -- 1266?-1337; Cappella degli Scrovegni nell'Arena (Padua, Italy); Mural painting and decoration, Italian -- Italy -- Padua; Mural painting and decorating, Gothic -- Italy -- Padua; Mural painting and decoration -- Conservation and restoration -- Italy -- Padua
Other titles: Frescoes of the Scrovegni Chapel in Padua.
Description: "At the end of a program of restoration that lasted an incredibly short time, but for which preparations had been made down to the smallest detail over twenty years of scientific investigation, historical research, laboratory experimentation, essays, trials and monitoring, one of the most fundamental cornerstones and certainly the most dazzling incunabula of modern European painting has been reopened to the public." "Preceded by long and complex preparatory work on the building and the surroundings, the intervention of conservation on the mural decoration has made it possible to arrest the acceleration of the process of decay. This decay was chiefly the result of the combined action of damp and pollution, but had been further aggravated by the use of unsuitable restoration materials during the intervention carried out in the early sixties." "Once the problem that had prompted the decision to intervene on Giotto's cycle had been resolved, it was thought only proper to respond to the need to restore the paintings as much as possible to their original state." "The result has been to render the revolutionary spatial layout of the work more legible, along with the formal values through which Giotto expressed himself, in particular the quality of his coloring, something that is usually (and inexplicably) undervalued." "But several genuine discoveries have also emerged, such as his use of the technique required to make mock marble ("marmorino" or "Roman stucco") and of oil to "bind" the white lead, which as a consequence has not undergone any process of alteration. This has revealed, at an unparalleled (at least as far as our current knowledge is concerned), effects of sunlight or luminosity that it would be hard to regard as produced by chance."--BOOK JACKET.
Notes: Translation of: Giotto : gli affreschi della Cappella degli Scrovegni a Padova.

"Ministero per i beni e le attività culturali. Istituto centrale per il restauro"--P. facing t.p.

Includes bibliographical references.