Art for Culture
“A prototype of the Museums of the future where we may find Masterpieces from the past together with exceptional and faithful reproductions”
Prof. Charles Hope, scientific Curator of the National Gallery in London,
Prof. Paolo Marconi, Art Critic and Prof at
La Sapienza University in Rome talking about the pictographies
placed inside the Estense Castle in Ferrara
Art for Culture
An important goal for all mankind
Art for Culture means to be focused on research, to be able to recreate any work of art that could eventually substitute the original one, in all the cases that it may be necessary. We like to call it “ Recovery of the Memory”, we believe it’s a very important service, useful to transfer for posterity valuable testimonies which could otherwise get lost. Think for example to the robbed artworks that were never found again, or about those which were seriously damaged due to bad conservatism. There are so many important paintings that the only idea they can be lost would immediately force us to think to somehow create a reproduction until they are intact and beautiful to see.
Use of a “clone”
Why it can be useful
The idea to recreate and artwork and to place it where the original one used to be, and it is not anymore, because it was stolen, sold or severely compromised, has always been a strong academic discussion and at today still not completely solved. The academics tend to avoid any conclusion in favour or against it. In the meantime, technology gives us the tools to recreate by simple means just about any paintings, today
Not just copying: recreating
A new technique for a new solution
Bottega Tifernate has started a new innovative path, strongly linked to traditions to try to find a solution able to recreate a work of art. Our studies focus on offering the viewer the real sensation of standing in front of the original work and not in front of a simple copy. The work is intended to go through the entire cycle used by the original artist, helped by, the Pictography technique , a patent developed and implemented 100% by our own laboratory. The recreation of an artwork, was made possible by a scientific and historic path of “rediscovering” the ancient painting techniques, the materials and the surroundings that brought the Artist to create his work and this allows us to create a work which is very similar to the original in its essence. All of this study and work happen in a very creative environment, different professionals work together with young artists recreating and breathing day by day the atmosphere of a Renaissance Art Workshop of the 1400 . The students have the possibility to study and learn how, for example, Raffaello was mixing his colours, or Leonardo was studying the eyes of Mona Lisa following the viewers at any angle of the room. In short it allows us to regenerate and give back to life our Great Masters: it’s them that still guide us and inspire us after so many centuries from their departure.
Pictography: a useful instrument to the Cultural Heritage
Imagine you need to recreate the 14 tables of Federico da Montefeltro’s small studio, now preserved at the Louvre: they are part of a bigger collection of 28 paintings , the other 14 being still in their original position inside the studio of Palazzo Ducale in Urbino. Imagine to undergo in a depth study of those works that allows you to recreate the same paintings using the same colors, the same wood and the same method. Imagine you could do the work in front of the original ones and finally place the 14 missing paintings to their original site. The viewer now would be able to see the small studio as it was at the time of Federico da Montefeltro. The same chromatic idea, the same aesthetic continuity of the original site. You could also film the entire work process and show it to the viewer. This is what we call “Memory’s Retrieval” Of course this type of work will be open to critics, but the majority of the public will benefit from a scientific/ historic/artistic journey. This is why Pictography was created. It is the only known technique that can guarantee accuracy to the smallest details of aestetic, with a historical reenactment and with the use of the original materials and colours of the original painting, no matter the age nor the technique that was used.
Different ideas of preservation
History teaches us
In Roman Times, Teseo’s ship, the one used by the hero of Mithology to go back to Crete after defeating the Minotaur , was jealously kept aside. Gradually the wood was deteriorating and new wood tables were added to the old ones. Plutarco says in “Life of Teseo” the philosophers used Teseo’s ship as an example of “vagueness” in the “Speech about Growth”: some say it is always the same ship, others claim it is not” The tangible and visible ship changes , progressively as the wooden boards are replaced; but still it remains the same if every board replaced is identical to the previous one and if the existing form of the ship remains the same. It is the paradox of conservation following the “eastern “model simplified at its best with the example of Ise’s Temple in Japan, where since the VII century it is ritually destroyed and identically rebuilt every twenty years , every time saving only a single column (always a different one) form the precedent one. A single podium accepts the living Temple, and beside an empty space that will hosts the new temple , clear expression of balance between full and empty , between continuity and discontinuity. All this reflecting the Shinto perspective of a perpetual renewal of Nature and Mankind , but also the intention to transmit the building’s techniques through generations. In the Japanese culture but also in the Chinese and Indian ones, the authenticity of the trademark it is not due to the materials that compose the object or the building , but rather to its “formal truth” With a similar paradox, David Hume (in his Treaty on Human Nature), assimilates the personal identity to a Church that was built by bricks and then collapsed. It was then rebuilt using stones by the parishioners, following the modern architectural studies. Nor the shape or the materials are the same, and between the two churches there is nothing in common , only the relationship with its parishioners , but still it’s enough to say that it is the same church. The churches are the same based on their functional truth. (from the book “if Venice dies”: by S.Settis). During centuries, different cultures have searched for solutions to preserve forever material goods (by definition doomed to disappear) that were called to offer a tangible witness of their meaning to posterity. The studies conducted by Bottega Tifernate take place in this context as an attempt to prolonging life to a work of art made from 200 to 2000 years ago. Recreating the same object is made possible only by the existence of the original one. The idea to work in front of a living witness, to a work of art that could possibly disappear, makes us thinking that our work bears a logic sense, it locks in the safe the possibility to transmit the witness of a unique work, not only of immense aestetic beauty ,but also of a great historic, artistic, cultural moment otherwise gone forever.
Our dream was to be among the best ones
Finally we are among the best
When we started our studies, we asked ourselves how could we compare one of our works next to the original one, and to reach our objective, we have never lost sight of the works of the Great Artists of the Past.
The opportunity arises
In one of the finest museums in the world.
The first real occasion of a serious comparison was given to us in 2005 , when a Commission of Experts lead by the Director of the Estense Castle , Marco Borella, called us together with other groups of Artists to try to recreate the works of “I camerini del Principe”
Selected by the best
Selected among the best
When the Commission responsible for evaluating who would be the ones in charge for the reproduction of the works at the Castle, came to pay us a visit ,they were astonished to see that our technique consisted in the use of solely original materials existed in the work shops during Renaissance. They were also astonished to see the quality we achieved in such a short period of time. Over ten years of research all over the world, they were able to find excellent artists capable of very fine techniques but their times of work were too long to be acceptable. Finally our technique was offering them the perfect match for their demand.