Not just any technique
We wanted a reproduction that was not a simple copy, that was close to 100% of the original:
We wanted a creation that communicates the same pathos that you can feel in front an original work. To do this, we invented PICTOGRAFIA technique.
The technology adjusted to the past
Here is the road that drive us to the goal
Imagine that Leonardo had a computer available, how would he use it? If Raphael had mastered the press as well, would he have used it? From those thought, we have found the solution: by studying the techniques and processing steps that they performed to create the paintings combined with evaluation of technologies then available, we began to experiment, try to try again, until creating, ten years later, the first fresco made on wet base.
We had made one
Now we had to make another one. And another one…
Very soon, the enthusiasm felt in front of the result led us to face another problem: the possibility of recreating more than one piece. In fact, the fresco does not allow mistakes; it requires absolute respect for the times for each passage. And so, to make a good one, we had to work seven or eight. It was therefore, impossible to propose it to the public. It took many months of work, of continuous tests and changes to the dough, finally to get to have a beautiful, resistant and long-lasting fresco. All of this, not have been possible without the testimony of our land.
The best technique to recreate a painting
There is no method with the same aesthetic fidelity and durability
Pictografia is a method results of research started since 30 years and is renewed, day after day. It was created around the idea of reproducing any kind of painting with scientific methodology, using materials and recipes of the original one, whether it was from the Roman or the 1900s, with the ability to replicate the exact aesthetic quality and ensure identical durability. When we started our studies in 1990, we understood that all the techniques and technologies available in that period did not allow us to get close to our idea. There was the “quadrettatura”, a method used by artists to enlarge or reduce a drawing or the “projection” on the white canvas of a painting. Perhaps they were the most suitable methods, but which managed to reach 90-95% of fidelity (depending on the skill of the artist). They were good for the canvas and the panel but on the fresco, which requires great speed of execution, there seemed to be no solution. We needed “MECHANICAL HANDS” to help us to have a stable and neutral color base in a support worked with recipes and methods of the artisan workshops of the ‘400.
The relevance of the original painting
Comparison makes the difference
Our work leads us to make a direct comparison with the paintings to be recreated. Only in this way we can convey the sense of wonder that you can feel in front of original. We serve the most important museums in the world and this allows us to perform a serious comparison every time we need it.
From mortar powder to finished product
That’s why there’s nothing like Pictografia technique
Bottega Tifernate realizes both the base and the pictorial part of the work: it is thanks to this integration that the best results can be obtained. Everything is designed to achieve absolute fidelity to the original. The supports are created with the best materials, worked to obtain a top-quality result. Each painting has a story to itself and can tell a way of working typical of the great artists of the past. Nothing is left to chance: every step is the result of research on the work of the ancient workshops, and the errors and problems highlighted by restoration as well.
Natural color technique
A work of art can be a memory of an event or an object to be handed down over time
We know how important is the economic value of a work, how it can be linked to a moment of life that you want to pass on the testimony. For this reason, our work it focuses on materials and, above all, on colors. All our creations are made with pigments are oxide-based so any environmental stress don’t conditions durability. Depending on the type of level of quality you choose, we make use of different types of colors, made in the laboratory or prepared directly with precious and natural materials as well. In both cases, pigments suitable for exceptional light resistance are used.
Cennino Cennini and Giorgio Vasari
They put on paper the secrets of their time
From the “Trattato sulla Pittura” by Cennini and from “La vita e le Opere” by Giorgio Vasari, we learned the recipes of the Great Masters and we learned the steps to obtain a “buon fresco” and canvas and wood panel as well, treated with a natural mortar.
Fresco, Canvas and Panel
The work was focused here
We could not study one support and exclude another. To best interpret the entire artistic history of our country, we had to know how the frescoes were worked on the walls of ancient churches and palaces or how to work on canvas or panel.
It was not easy to do it “a fresco”
We wanted it beautiful; we wanted it transportable; but above all we wanted it “a fresco”
The goal was clear: to recreate a fresco as it had never been seen before. In addition to the aesthetic characteristics, we wanted a support built with materials typical of the ‘400 but that was transportable, worked according to the canons of the “buon fresco”.
The Canvas: a valuable object
The perception of a precious object
From the start, we focused on the 280/400gr/m2 Dutch linen canvas: worked with manual procedures, it seemed to us the best support to put a mix of plaster and natural glue, passed from three to seven times, in order to preserve the colors for al long time.
The Panel: an ancient support
The preparation of panel is a ritual. A slow and delicate process:
from Leonardo’s work we learned techniques and secrets.
The panel has the same process of the canvas. A manual work, with natural products; it needs a reliable support, consistency, protected from environmental stresses. It is for this reason that we select only seasoned and traced wood that, together with our special preparation, assumes an exceptional stability over time, so the colors during last in time.