After about two years of painstaking and specialized restoration by ICR technicians, Venanzo Crocetti’s sculpture “L’Allieva di danza” (1958) returns to GAM - Galleria d’Arte Moderna di Roma. Purchased in 1960 by the City of Rome following the VIII Quadriennale Nazionale d’Arte, the work represents one of Crocetti’s first large-format sculptures dedicated to the theme of dance, which already appeared in various sketches from the 1940s and which, starting in the late 1950s, would become a recurring theme within his production but also a symbolic icon for many figurative sculptors of the second half of the 20th century.
The volume, full of scientific, historical and critical essays, documents the conservation intervention carried out on the sculpture, and at the same time offers an in-depth reading of the work, from its genesis to the technique of its making. An important contribution is also offered for the knowledge of the very valid artist, whose figure is not yet perfectly focused in its stages and its actual position in the history of Italian art. The volume is completed by biobibliographical apparatus and a technical glossary. In this study extensive use of 3D technologies has been made: Computer Tomography, Scanner 3D (also Revopoint: Pop 1 and Miraco), 3D software.
Summary book (translate from italian):
INTRODUCTIONS
Venanzo Crocetti: a sculptor in tradition and contemporaneity
Sergej Androsov
A Necessary Insight into Venanzo Crocetti
Claudio Massimo Strinati
THE WORK AND THE AUTHOR
Venanzo Crocetti or the language of art as a “reflection of action” of thought
Claudio Crescentini
VIII Quadriennale Nazionale d’Arte di Roma
Venanzo Crocetti’s Dance Pupil. A modern kore between lyricism and realism
Arianna Angelelli
The essence of time and creation in Venanzo Crocetti: a supple dance in the universe of art
Carla Ortolani
Bibliography
edited by Ioana Maria Harpa
THE STUDY
Project, method and purpose
Livia Sforzini, Davide Fodaro
Visual examination: the signs of workmanship
Livia Sforzini, Davide Fodaro
3D technologies for the technical executive study and restoration of the Dance Pupil
Davide Fodaro
The computerized tomography of the Dance Pupil
Ferdinando Spanò, Chiara Andreoli, Silvia Lanciotti, Paolo Ricci
Scientific investigations for the study of the constituent materials of the Dance Pupil
Liliana Gianni, Lucia Conti, Marcella Ioele
THE TECHNIQUE
Hints on the technique of indirect lost-wax casting
Davide Fodaro, Livia Sforzini
The Dance Pupil and the execution technique
Livia Sforzini, Davide Fodaro
The Posing Dancer of Teramo. The two sculptures compared
Davide Fodaro, Livia Sforzini
Interview with master Manolis Tzombanakis
Questions by Livia Sforzini and Davide Fodaro
Interview with Silvano Folla and Stefania Poggi of Fonderia Artistica Fabris e F.lli Folla & C.S.A.S., Verona
Questions edited by Livia Sforzini and Davide Fodaro
THE RESTORATION
Conservative analysis
Livia Sforzini, Davide Fodaro, Stefano Ferrari
The restoration intervention
Livia Sforzini, Carlo Usai, Davide Fodaro, Stefano Ferrari
Selected bibliography
APPARATUS
Technical glossary
edited by Davide Fodaro and Livia Sforzini
Biography