Macera, Vitiello et Al - ICOM-CC

Transcription

JOINT INTERIM MEETING OF FIVE ICOM-CC WORKING GROUPS:
Leather and Related materials
Murals, Stone and Rock Art
Sculpture, Polychromy, and Architectural Decoration
Textile
Wood, Furniture, and Lacquer
The restoration and the redisplay of Racconigi Castle second floor.
Historical and methodological aspects
Mirella Macera
Director of Racconigi Castle, Project coordinator, Scientific director of architectural works
Soprintendenza per i Beni Architettonici e Paesaggistici delle Provincia di Torino, Asti, Cuneo, Biella e Vercelli
Rossana Vitiello
Curator of the collection and Scientific Director of the restoration works for paintings and furniture of
Racconigi Castle
Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici del Piemonte
Cristina Corlando, Laura Gallo, Samantha Padovani
Art historians
Historical and documentary research, critical elaboration supporting the restoration and works organization
Abstract
Racconigi Castle is one of the most famous Savoia residences. Since 1832 the building and the Park have
been the favourite resort for the royal holidays of King Carlo Alberto.
The project presented here aimed at showing the restoration and organisation works of the Queen’s
Apartments, which took place on the castle’s second floor. These works were finished by the summer of
2009. We intend to focus on the methodologies which influenced the choices made regarding the redisplay
of the Queens’ Apartments (Maria Teresa, Maria Adelaide, Elena of Montenegro, Maria Josè), the
development in the different historical and artistic phases they underwent from 1832 to 1930s.
These methodological choices allowed us to put on display the historical stratification of the rooms and
chambers without losing their allure of real-life places.
Keywords
Historical documentation, historical reconstruction, historical stratification, furniture, tapestries, paintings,
preservation, 19th-20th centuries
Mirella Macera, Rossana Vitiello, Cristina Corlando, Laura Gallo, Samantha Padovani
The restoration and the redisplay of Racconigi Castle second floor. Historical and methodological aspects
Racconigi Castle (Figure 1) is one of the most famous Savoia residences: a building fortified in the
Middle Ages, it was transformed into a residence by the cadet branch of the family, the SavoiaCarignano, in the mid-seventeenth century with a project by Guarino Guarini (1624-1683). In the second
half of the eighteenth century further works in Neoclassical style are due to Giovanni Battista Borra
(1713-1770). Since 1832 King Carlo Alberto appointed the building and the park as the seat of the “reali
villeggiature” (or royal residences). The King assigned extension of this residence to Ernest Melano
(1784-1867) and its decoration to Pelagio Pelagi (1775-1860). During the twentieth century the castle
underwent new adjustments and it was used by Savoia descendants until 1980, when it was acquired by
the Italian State. Consigned to the Soprintendenza per i Beni Ambientali e Architettonici del Piemonte,
the building was subject to a restoration project, with a careful recovery of the vast park, the Royal
Greenhouses and the Margaria, together with a cataloguing and restoration programme of the works and
furnishings held within the residence (Racconigi, 1987).
Figure 1: The southern façade of Racconigi Castle
Among the various Savoia residences, Racconigi was the most attended by the royal family until 1946.
This explains why the monumental compound presents minor decay compared to the others, and
moreover why it was not deprived of its furniture, paintings, and sculptures. In 1980 the interior
decoration was quite diverse: few rooms had furniture matching a specific historical phase, since the
furnishings were not related to one another and were displayed according to a museum guiding principle
portrayed by the inventory drawn by Noemi Gabrielli in 1951, a situation which has partly remained
unchanged up to today.
The demand for a historical research attempting to restore groups of furnishings according to the use of
the rooms – which began in the 1980s and converged in 1986 in the publication of a volume (Ragusa, in
Racconigi, 1987, pp. 168-79) – regarded primarily the representative apartments of the first piano nobile,
where Palagian elements were and still are predominant, unchanged in the following years.
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As for the second floor rooms, which were devoted to the sovereigns’ and princes’ private apartments,
they underwent major adjustments over time, since they were not used for representative purposes.
From these observations, arisen from the comparison between current appearance and what is historically
documented, one can infer that today the castle interior cannot be considered a document of a specific
historical phase altogether. Therefore, in attaining a correct preservation operation, we needed to
combine, ideally at least, the dispersed or dismembered furnishings and restore their unity and historical
connection with each castle room they were conceived for.
The project hereby introduced is intended to illustrate the restoration and redisplay results concerning the
castle’s second piano nobile, which began in 2004 and ended in the summer of 2009. We would like to
focus on the methodological aspects, which have guided the choices made to convey, within the second
floor apartments, the stratification of their different historical and artistic phases from 1832 to the 1930s.
Reading the castle inventories (1826, 1838, 1850, 1884) and the contracts and payments documents kept
in the Archivio di Stato (State Archive) of Turin, within the collection entitled Casa di Sua Maestà,
together with Giuseppe Casale’s description of the residence dating from 1873, was a necessary starting
point. We were able to identify each furnishing and its rearrangement in the historical rooms thanks to the
studying of this documentation.
The reading of the documents allowed us to learn that the second floor had not come down to us in an
appearance consistent with a specific historical phase, but rather as the result of the combination of some
nineteenth-century furnishings and those assembled by Vittorio Emanuele III and Prince Umberto in the
first half of the twentieth century. The furniture arrangement after World War II, as stated by Noemi
Gabrielli’s inventory (1951), has thus favoured a stylistically harmonious furniture reconstruction, though
not based on nineteenth-century documentation.
From the inventories we were able to retrieve the description of the tapestries and fabrics covering the
furniture and of the very few paintings – with the sole exception of the Antechamber to Maria Teresa and
Carlo Alberto’s Apartment. Among the furniture we could find no trace of in the castle there are the
canopy beds of Maria Teresa’s and Maria Adelaide’s two rooms, now re-enacted with the cooperation of
the Teatro Regio of Turin.
Knowing that, from the reading and comparison of the nineteenth-century inventories, we could restore
most of the rooms on the second floor, we initiated drawing up the project, starting with the restoration of
the rooms’ decorations, furnishings, paintings and frames. The wallpapers and tapestries have been taken
into special consideration: where they were still preserved, they underwent an accurate restoration
process; where they no longer existed, they were rewoven according to the instructions given by
documents and the historical models found in the storage of the Palazzo Reale in Turin and in some
apartments of Agliè Castle.
The redisplay has involved all second floor Apartments (Figure 2): Maria Teresa and Carlo Alberto’s,
Maria Adelaide and Vittorio Emanuele II’s, Queen Elena’s twentieth century Apartment, then used by
Maria Josè, and the Maid of Honour’s one. The choices of redisplay were diversified according to the
issues each room raised and we would hereby like to illustrate them through several significant examples:
from the historical reconstruction – without denying the historical stratification – which led the display of
the Antechamber to Maria Teresa and Carlo Alberto’s Apartments and of Maria Adelaide’s “Gabinetto di
Toeletta”; to the rooms’ historical reconstruction – as they appeared in the nineteenth century in Maria
Teresa’s and Maria Adelaide’s bedrooms – carried out through the painted decoration and tapestry
restoration and the furniture rearrangement according to the inventories; to the actual restoration of the
existent, in Prince Umberto’s bathroom case. We will provide further discussion of these examples in the
following pages.
In those cases where history could not be supported by present reality, our choice was to finish the rooms
with both contemporary furniture and that stylistically pertinent to those not preserved, and the
arrangement of certain paintings suggestive of the people who dwelt in those rooms.
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Figure 2: Map of the second piano nobile in Racconigi Castle with the new display
The Antechamber to Carlo Alberto and Maria Teresa’s Apartments and
Maria Adelaide’s “Gabinetto di Toeletta”: a redisplay between nineteenth and
twentieth century
The Antechamber to the Apartment of Maria Teresa and Carlo Alberto has maintained its function. The
restoration of the vault has brought back to light the Art Nouveau-style decoration, the only example left
in the residence, carried out by the painter and restorer Carlo Cussetti in the early twentieth century, when
Vittorio Emanuele III and Queen Elena promoted major renovations in the residence appointed seat of the
“reali villeggiature”. A big sun radiates from the centre of the vault and it is surrounded by an
interlacement of tulip stems closing in the middle of the four sides thus creating the monogram of Vittorio
Emanuele III. A frieze running below is made up of peonies, anemones and roses buds on a Pompeian-red
background. Underneath the early-twentieth century paint, some of the Palagian decoration is resurfacing,
thus hinting at the room’s nineteenth century display with its portrait gallery of Savoia Carignano and
collateral branches of Savoia Soissons and Savoia Villafranca, hereby assembled by Carlo Alberto in the
memory of his ancestors (Figure 3).
Also dating back to this period, the marble console by Giuseppe Gaggini, the benches and tabourets –
still featuring their original fabrics provided by the weaver and fabric merchant from Turin Bernardo
Solei (AsTo, Riun., Casa di S.M., cat. 38, n. 1048) – which have been restored. This furniture was moved
to the “Galleria di Eolo” on the castle first floor (Inventario, 1951, nn. 6315-6327), partly covering the
beautiful mosaic floor, which is now visible again.
The choice of covering the room walls with a self-coloured tapestry was determined by the need to
combine the nineteenth-century picture gallery redisplay with the Art Nouveau decoration of the vault,
therefore relinquishing to propose the original tapestry of the same fabric still preserved on the furniture
and also documented on the walls in the 1838 Inventory.
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In Maria Adelaide’s Apartment – decorated and furnished on the occasion of her wedding to Vittorio
Emanuele II, celebrated in 1842 – for the “Gabinetto di Toeletta” and the adjacent Prie-Dieu display, we
have likewise opted for the solution which could convey the historical vicissitudes which transformed the
two rooms during the twentieth century.
Indeed, the main changes occurred in the beginning of the twentieth century, first and foremost, the
combination of the “Gabinetto di Toeletta” and the adjoining Prie-Dieu. This structural change, carried
out by demolishing the diving wall between the two rooms, has created a larger room where both the
ceiling and the floor were completely rebuilt.
Today, the choice of showing the room with the previous division was influenced by an important
uncovering in the antiquarian market – thanks to the contribution by the Fondazione Cassa di Risparmio
di Torino: the rosewood and maple suite of six chairs and a sofa designed especially for this place by
Gabriele Capello and documented in the inventories since 1850. This finding allowed us to restore the
unity of the room’s furniture, of which the Psyche mirror and the newly-reinstated monumental door –
Giuseppe Casale praised as a cabinet-making masterpiece (Casale, 1873, 84) – still remained in the castle.
This distribution of the space is evoked today by a wooden structure which purposely does not reach the
ceiling: this allowed the reading of 1930s decoration to be preserved, a testimony of the period’s attention
to baroque revival. This decoration had already taken the place of Art Nouveau floral water lily motifs of
the frieze running along the room, recovered during restoration and left visible in the corner of the wall,
underneath the 1930s one on linen paper (Figure 4).
Figure 3: Antechamber to the Apartments of
Maria Teresa and Carlo Alberto after the
redisplay, Racconigi Castle, second floor
Figure 4: Maria Teresa’s “Gabinetto di
Toeletta” after the redisplay, Racconigi Castle,
second floor
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Although nineteenth-century inventories do not mention any painting furnishing the room, we have added
some works relating to Maria Adelaide and her children. The Queen’s portrait was commissioned in 1858
to the painter Angelo Capisani and painted in 1860. The painting initially belonged to Moncalieri Castle
where it hung until 1920, when was taken to Racconigi (Inventario, 1879 n. 114 SM).
The bedrooms of Maria Teresa and Maria Adelaide: a nineteenth century
overview
This large room in the west wing apartment on the castle’s second floor was the bedroom of Carlo
Alberto’s wife Maria Teresa since the 1830s. Giuseppe Casale (Casale, 1873, 73-74) described the room
in 1873 as still complete in its furnishings. It could still be admired as such in the beginning of the
twentieth century, as a precious historical photograph shows. However, after World War II, following the
dispersion of most of the original furniture, the whole room was altered and identified as “Dining Room”:
not even the rearrangement carried out by Noemi Gabrielli could bring the room back to its original form
(Inventario, 1951, nn. 2813-2914).
The ceiling, restored on the occasion of the current redisplay, features ornate and rosette motifs, with
busts recalling models from classical medallistics. Painted by Antonio Trefogli and Santo Velzi in 1834,
it was designed by Pelagio Palagi (AsTo, Riunite, Parcelle e Conti, reg. 5394, mand. 1020, n. 202).
From the furniture still appearing in the historical photograph, three valuable chests of drawers by the
English cabinet-maker Henry Peters have been restored. The mahogany, ebony and metallic inlays chests
were executed from a design by Pelagio Palagi (Cultura, 1980, II, 635, n. 691).
However, some tables, sofas, large chairs, gondole chairs (Inventario, 1838, n. 1365) and two bed-side
tables-prie-dieu were dispersed: their decorative typology once again refers to Henry Peters. Part of this
furniture is today in private collections (Colle, 1998, 380-381, n. 124).
The canopy bed in “ferro lavorato a scaglia di pesce” (Inventario, 1838, n. 1383) by Filippo Cambiaggio
(AsTo, Riun., Minutari, 6964, I, n. 19; cat. 38, n. 1120), executed from a Palagian design, was mounted
and provided with drapery by the upholsterer Giuseppe Bogliani in April 1836 (AsTo, Riun., Parcelle,
mand. 2565). Now dispersed, it was reproduced in the current display thanks to the cooperation of the
Teatro Regio and the Politecnico of Turin, allowing us to rebuild its canopy. On the other hand, the
wrought iron bed was selected amongst those still preserved in the residence, being precisely similar in
typology to the original one (Figure 5).
On the fireplace sill we have restored the rich golden bronze pendulum-clock reproducing Raphael’s
Madonna della Seggiola (Orologi, 1988, 232, n. 73), mentioned in the room’s furniture since the 1850
inventory (Inventario, 1850, n. 2415).
The tapestry in “lampasso giallo a grand’opera a rosoni chiaroscuro con grande bordure sotto e sopra
simile, nuova” as we can infer from 1838 inventory (Inventario, 1838, n. 1057) was conceived for this
room together with the furniture.
Woven by workmen in Lyons from a design by Pelagio Palagi, it was likely given to Carlo Alberto
through Bernardo Solei, who is mentioned in an order from April 1834 for fabrics, hems and cords supply
for many rooms in the castle (AsTo, Riun., cat. 38, n. 1048). Recreated according to the original design
found in the storage rooms of the Turin Palazzo Reale in Turin and in Agliè Castle (Ragusa, in Il castello,
1995, 49-50), this has made it possible to restore the room’s own unity of decoration.
In the room we have placed the painting by Pietro Benvenuti (1769-1844) showing young Maria Teresa
by a an open window with Florence on the background. The Princess’ wedding to Carlo Alberto was
indeed celebrated in Santa Maria del Fiore in September 1817 (Pittore, 2009, 186, n. 138).
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Figure 5: Maria Teresa’s Bedroom after the redisplay, Racconigi Castle, second floor
In Maria Adelaide’s Bedroom redisplay we have also followed the same criteria. The room, within few
years, from reception room of the young Duke of Savoia Vittorio Emanuele (Inventario, 1838), after his
wedding to Maria Adelaide (1842), became the Duchess’ bedroom.
On that occasion the pictorial decoration of the vault was carried out depicting merry putti enclosed in
roundels with vegetal motifs and grotesques by the painters Luigi Cinati and Franco Antonio Trefogli,
(Casale, 1873, 85) overlaying a previous decoration with monochrome decorative elements, resurfaced
during the current restoration, a sample of which we decided to leave in evidence.
Before the redisplay, the room – transformed in Antechamber of Umberto II’s Apartment and named
“Salone Giallo del Re” (or Yellow room of the King; Inventario, 1951) – appeared deprived of its original
furnishings (Figure 6).
From the evidence in archival documents we learn that the room’s refined furnishings were executed
between 1841 and 1842 by the cabinet-maker Gabriele Capello from a design by Palagi. From the maple
and paliurus furniture, decorated by intaglios and inlays, three commodes, two bed-side tables and six
chairs have remained and they were arranged before the current redisplay on the first piano nobile in the
“Camera da letto del Re” (or King’s bedroom), “Camera della Regina” (or Queen’s Room) and the
Etruscan Cabinet (Inventario, 1951).
However, of this group we are missing the sofas, the large chairs and the dormeuse, now held in several
main foreign museums (Metropolitan Museum, New York; Victoria and Albert Museum, London; Paul
Getty Museum, Malibu; Institute of Arts, Detroit; Art Institute, Chicago).
The iron bed by Filippo Cambiaggio (AsTo, Riun., Parcelle, reg. 5442, n. 804) and the imposing canopy
made up of “una grande ossatura da letto formata da quattro colonne d’Erable e mogano” (Inventario
1850, n. 2140) are of special interest.
The whole structure, now lost, has been recreated in a display similar to that of Maria Teresa’s Bedroom.
Also in this case, for the recreation, besides inventories and payments, we turned to an early twentiethcentury photograph, reproducing it in its original arrangement (Figure 7a). In the room we have placed
Princess Maria Clotilde’s maple and mahogany cradle, especially made for this room by Capello in 1843.
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Figure 6: Maria Adelaide’s Bedroom before the redisplay, Racconigi Castle, second floor
With the room destination to bridal bedroom, the old green lampas tapestry (Inventario 1838, n. 1105)
was replaced with a blue hanging with sumptuous ornate with “lyra e cigni portanti un canestro e
ghirlande” (Inventario, 1850, n. 2165), manufactured in Lyon, now rewoven identical to the original
model, found in the storage rooms of the Palazzo Reale in Turin (Figure 7b).
In the room we have hung Maria Adelaide’s full figure portrait, commissioned by Vittorio Emanuele II to
the painter Felice Barucco (1830-1906), after his bride’s death. Painted in 1861 for the Picture Gallery in
Moncalieri Castle (AsTo, Riun., Casa di Sua Maestà, n. 429), it was moved to Racconigi in 1884 (AsTo,
Riun., Casa di Sua Maestà, n. 8435).
a
b
Figure 7: a) Adelaide’s Bedroom in a 1902 postcard, Private Collection, Racconigi; b) Maria Adelaide’s Bedroom
after the redisplay, Racconigi Castle, second floor
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Prince Umberto’s Bathroom: Racconigi 1930
This small room, which was Prince Vittorio Emanuele’s Apartment antechamber in the nineteenth
century, was completely modernized and transformed in the twentieth century, when Vittorio Emanuele
III gave the castle to Umberto Prince of Piedmont, for his wedding to Maria Josè celebrated in 1930.
The bathroom, unaltered since then and published by Gio Ponti in 1930 on “Domus” (Ponti, 1930, pp. 3441), stands today as a unique example in the Savoia residences, a testimony of the update in the prince’s
taste in furniture, to which the friendship with the architect Emanuele Cito Filomarino might also have
been instrumental (Zanzi, 1930, 10) (Figure 8).
Umberto commissioned its decoration to a young artist from Monza, Fioravante (Fiore) Martelli (19081934), who trained at I.S.I.A. – the Istituto Superiore per le Industrie Artistiche (Superior Insitute for
Artistic Industries). Among the teachers, Martelli could have met very prestigious figures, such as Guido
Balsamo Stella, Alessandro Mazzuccotelli, Ugo Zovetti.
The bathroom, for which the prince requested the artist to have “migliore gusto possible, evitando ogni
pesantezza” (Alaimo, 1997, 133) has today regained its brightness thanks to the restoration of the painted
paper mounted on canvas covering it.
On the walls there are almost evanescent scattered figurines, simply highlighted by a precise outline and
soft nuances: in the middle of the big squares drawn from a continuous interplay of rounded or angular
frames there are stylized flowers, handled like synthetic geometrical motifs, flying birds, fishes and jelly
fishes. Above the doors and in the middle of the vault decorated spaces open up with scenes recalling the
water theme.
Figure 8: Prince Umberto’s Bathroom, Decoration by Fioravanti (Fiore) Martelli, 1930, Racconigi Castle,
second floor
The decoration seeming simplicity implies a series of precise cultural references, originated within earlytwentieth century interior decoration taste, and developed towards the end of the 1920s, models Martelli
was well acquainted with, such as works by Guido Andlovitz, Cito Filomarino, Giulio Rosso or Mario
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Sturani – in one of the latter’s studies for a bathroom the walls were dissolved by a light blue background
where fishes and other sea creatures swim. Fiore Martelli, who has left in Piedmont other important
testimonies of his art, in 1931 also designed in Racconigi the Music Room (Zanzi, 1931, 6), thus
paralleling the Palagian decorations – featured in the residence rooms – with a unique token of Umberto
and Maria Josè’s private taste.
Conclusion
These methodological choices were meant to convey the apartments historical evolution without losing
their atmosphere of real-life places, with the cooperation of directors and stage designers, in the intent of
preserving its house character, which distinguishes Racconigi Castle, bringing it to the audience, without
overlooking preservation requirements, and the necessary adjustments for visitors’ safety.
Acknowledgments:
Experts and firm involved in the restoration and redisplay works - Gino Arrobbio, Enrico Barbero,
Daniela Biancolini, Claudio Boasso, Danilo di Leo, Francesco Favarin, Florin Mastrantoni, Roberto
Mastropasqua, Saverio Santoliquido, Salvatore Scrofano, Carla Enrica Spantigati, Matteo Tosco. Special
thanks to Fondazione Cassa di Risparmio di Torino
Translator - Jennifer Cooke.
Archival sources:
Archivio di Stato di Torino, Sezioni Riunite, Casa di Sua Maestà, Inventari nn. Azienda Savoia
Carignano cat. 38, mazzo 25, n. 91 (1826); 4647, ora 12876 (1838); 4648, ora 12877 (1850); 4657 (1884);
Archivio di Stato di Torino, Sezioni Riunite, Casa di Sua Maestà, Parcelle e Conti
Archivio di Stato di Torino, Sezioni Riunite, Casa di Sua Maestà, Minutari e Contratti
References:
Casale, G. 1873. Guida al Real Castello e Parco di Racconigi, Savigliano, Tipografia Racca e Bresso.
Casa di S.M., Inventario degli Oggetti d’arte esistenti nel R. Castello di Moncalieri di proprietà privata
di S.M., 1879, Soprintendenza per i Beni Ambientali e Architettonici del Piemonte.
Ponti, G. 1930. Una stanza da bagno nel Castello di Racconigi. Domus, III, 36, 1930, 34- 41.
Zanzi, E. 1930. L’arte di un giovane al castello di Racconigi. La stanza da bagno del Principe. La
Gazzetta del Popolo, 4 dicembre, 10.
Zanzi, E. 1931. La sala di musica della Principessa di Piemonte nel Castello di Racconigi. La Gazzetta del
Popolo, 27 agosto, 6.
Castello di Racconigi, Inventario arredi, 1951. Dattiloscritto, Castello di Racconigi.
Cultura figurativa e architettonica negli Stati del Re di Sardegna, 1773-1861, 1980. Catalogo della
mostra (Torino 1980), a cura di Castelnuovo, E., Rosci, M. 3 voll., Torino, Stamperia Artistica Nazionale.
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Racconigi. Il castello il parco il territorio 1987. Ministero per i Beni Culturali e Ambientali
Soprintendenza per i Beni Ambientali e Architettonici del Piemonte, Quaderno n. 1, Attività Didattica
1985-1986, Racconigi.
Ragusa, E. 1987. L’arredo del castello: vicende dell’”ammobigliamento” dal 1753 al primo Novecento.
Racconigi. Il castello il parco il territorio, Ministero per i Beni Culturali e Ambientali Soprintendenza per
i Beni Ambientali e Architettonici del Piemonte, Quaderno n. 1, Attività Didattica 1985-1986, Racconigi,
168-179.
Orologi negli arredi del Palazzo Reale di Torino e delle Residenze Sabaude 1988. Catalogo della mostra
(Torino 1988), a cura di Brusa, G., Griseri, A., Pinto, S., Milano, Fabbri.
Ragusa, E. 1995. Prime considerazioni sull’arredo. Il Castello di Aglié. Alla scoperta dell’Appartamento
del Re, a cura di Biancolini, D., Torino, Celid, 40-51.
Alaimo, D. 1997. Un bagno in stile «Novecento» al castello di Racconigi. Bollettino della Società per gli
Studi Storici, Archeologici ed Artistici della Provincia di Cuneo, CXVI, 1, 129-143.
Colle, E., 1998. Il mobile impero in Italia. Arredi e decorazioni d’interni dal 1800 al 1843, Milano,
Electa.
Pittore imperiale: Pietro Benvenuti alla corte di Napoleone e dei Lorena, 2009. Catalogo della mostra
(Firenze, 2009), a cura di Fornasari, L., Sisi, C., Livorno, Sillabe.
Biographies:
Mirella Macera
Functionary of Piedmont Soprintendenza per i Beni Architettonici e Paesaggistici
since 1982, as responsible for the preservation of Cuneo province she superintended important
conservation projects. Director of Racconigi castle and park since 1994, she superintended the activities
of preservation, conservation and development which allowed the progressive opening to the public of the
entire complex.
Since 1996 she directed the Gardens of the Royal Palace in Turin and the restoration works of the
Sindone Chapel and of the Cathedral. Since 2003 she directed the restoration of Venaria palace gardens.
She participated to numerous international meetings, lectured at the University and edited publications.
She deceased in March 2010 and she is remembered and appreciated for her great enthusiasm and
professional activity in the entire Piedmont, and in the specific fields of conservation, garden architecture
and improvement of cultural heritage in Italy and abroad.
Rossana Vitiello Art historian, functionary of the Piedmont Soprintendenza per i Beni Storici,
Artistici ed Etnoantropologici. She was born in Genoa, where she attended the university specialising in
History of contemporary art, with special interest in the nineteenth and twentieth century artworks of
Galleria d’Arte Moderna and Raccolte Frugone, where she cooperated in the editing of the general
Catalogue.
She organised the exhibitions “Guercino: il San Francesco ritrovato” in Novara 2006 - and subsequently in
London and San Giovanni in Persiceto - and “Il Teatro del Sacro. Scultura lignea tra Sei e Settecento
nell’Astigiano” in Asti at Mazzetti Palace. She is responsible for the preservation of Asti province, of
Giulio Monteverde plaster casts gallery in Bistagno, of the art gallery of Accademia Albertina di Belle Arti
in Turin and of Racconigi castle, where she has the role of collections curator, directing the restoration of
paintings and furniture. (Soprintendenza per i Beni Storici Artistici ed Etnoantropologici del Piemonte,
Torino (SBSAE), Via Accademia delle Scienze 5 - 10123 TORINO. Tel. 011/56.41.711 – Fax.
011/54.95.47. rossana.vitiello@beniculturali.it)
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Cristina Corlando
Born in Turin in 1964, she graduated in Art History at Turin University in 2001
discussing a thesis in History of Modern Art about the critical survey of the artefacts of San Domenico
church. Since 2003 she cooperates with the Soprintendenza per i Beni Architettonici e per il Paesaggio of
Piedmont dealing with collections of the Racconigi castle, historical and archival research and survey of
furnishings; she partecipates also to the organization of the yearly exhibitions. Since 2004 she is among
the founding members of the Art.9 society, specialised in historical research, survey and organization and
editing of exhibitions and catalogues (Dallo Stesso punto di vista. Immagini del passato ritrovate nel
presente. A Mirafiori Nord 2005 and 2007; La Fabbrica della Città 2007 and Beinasco dal bianco nero al
colore 2008). Moreover she is cooperating with the Department of Education of Rivoli Castle, Museum of
Contemporary Art. art.9@libero.it
Laura Gallo
Born in Giaveno in 1977, she graduated in Art History at Turin University in 2001. She
continued her postgraduate studies in History of Medieval and Modern art at Udine University, being
awarded a scholarship from Udine council in 2004 and 2005 and from painter Giobatta Foschiatti
memorial foundation in 2006. In 2010 she received from Turin University the Ph.D. in History of Art
Criticism. Since 2003 she cooperates with Soprintendenza per i Beni Architettonici e per il Paesaggio of
Piedmont dealing with historical and archival research and survey of Racconigi castle collections,
participating to the organization of exhibitions. She has cooperated with Turin University Department of
Sociology and Language Faculty and with museums (Rivoli Castle Museum of Contemporary Art,
Accorsi Foundation, Torino Musei Foundation). In 2004 she was among the founding members of the
Art.9 society. art.9@libero.it
Samantha Padovani She graduated in Art History at Turin University in 2001. In 2002 she was
awarded a scholarship for a research and survey project of the journal “ La Critica d’Arte” within the
interuniversity program coordinated by professor Gianni Carlo Sciolla at the International Centre of Art
Journals (Centro Internazionale delle riviste d’arte). She has lectured on History of Italian and Piedmont
Art in a course organised by Piedmont Region and Consorzio Beni Culturali within the project Tecnico
conservazione e promozione turistica dei Beni Culturali.
Since 2003 she cooperates with Soprintendenza per i Beni Architettonici e per il Paesaggio of Piedmont
dealing with historical and archival research and survey of Racconigi castle collections, participating to
the organization of the yearly exhibitions. Since 2004 she is among the founding members of the Art.9
society, specialised in historical research, survey and organization and editing of exhibitions and
catalogues. She is presently cooperating with the Department of Education of Rivoli Castle Museum of
Contemporary Art. art.9@libero.it
Disclaimer
These papers are published and distributed by
the International Council of Museums –
Committee for Conservation (ICOM-CC), with
authorization from the copyright holders. The
views expressed do not necessarily reflect the
policies, practices, or opinions of ICOM-CC.
Reference to methods, materials, products or
companies, does not imply endorsement by
ICOM-CC.
12

Macera, Vitiello et Al - ICOM-CC

Transcription

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