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2013 marks the 400th anniversary of the birth of Mattia Preti. This important occasion is being marked by an exhibition organized by Heritage Malta and the Comune of Taverna, where Mattia Preti was born. The exhibition is the final stage of a three year process during which the works of Preti have been studied and revisited. The exhibition together with the Catalogue is the culmination of this journey. The Catalogue includes 9 papers by leading art scholars and historians, some of whom are publishing for the first time their findings after the recent studies of Pretti's paintings. The Catalogue also includes entries of the 49 art-pieces and artifacts forming part of this unique exhibition. Much passion and commitment has gone into the making of this project. Dignity is perhaps the intended objective which to our great satisfaction also received the positive support of some of the major European museums including the Louvre, Prado, Musei Vaticani, Brera, Uffizi, Capodimonte and Galleria Nazionale di Palazzo Barberini amongst others. This common intent shared between Preti's two historic realities, the native city of Taverna and Malta, spurred the curators to reap the desired results and achieve the intended objectives of this complex cultural project. The backbone of this project is a scientific research project proper concerning Preti's works in both Taverna and Malta, particularly the National Museum of Fine Arts, and goes beyond art historical research to include scientific investigations undertaken jointly by Taverna's Laboratorio di Restauro Conservazione e Ricerca and Heritage Malta's Conservation Division at Bighi. The scientific investigation carried out on Preti's Martyrdom of St Catherine of Alexandria, in particular, yielded unexpected results and confirmed the iconographical attributes of the martyr saint lying underneath. We hope these results will be the scope for more debate and discussion for the international academic community to take further. All this empowered us to read deeper into Preti's works in both Taverna and Malta and guided our selection of works to feature in the exhibition. The 400th anniversary of Mattia Preti's birth makes us all proud of a shared heritage which this project rethinks and consolidates. Vincenzo Bonello, who contemporary to Alfonso Frangipane and Valerio Mariani, rediscovered Mattia Preti's legacy and corpus of works in Malta transformed all this into a powerful identity construct mostly effective during colonial times. Preti's ideals have thus moved beyond any delimiting borders on to our times, four hundred years later and, from this safe distance, empower us to objectively assess his exceptional creative trajectory. Preti can now be read as a noble man who strives hard with his art to get back what his family had lost a few years before his birth. His quest transformed him from knight to a monk of war ready to do battle in the name of his spiritual and social affirmations which can be fully recognized in the ideals of Faith and Humanity.
Catalogue raisonné of 20 works by Matti Preti and Gregorio Preti located in Taverna, Italy.
Numero doppio, 160 pagine, cm21x29,7, brossura, illustrato a colori, anno 2015 Questo numero speciale di Kermes, nell’ambito delle celebrazioni per il 350° anniversario della morte di Nicolas Poussin (1594-1665), esce in concomitanza con la mostra ‘Poussin et Dieu’ che il Musée du Louvre presenta nella primavera del 2015. Omaggio al ‘pittore-filosofo’, il volume si pone quale strumento scientifico di riferimento che riporta lo stato dell’arte a livello internazionale negli studi tecnici poussiniani e accompagna la mostra come adeguato complemento al catalogo per la comprensione scientifica delle tematiche. La pubblicazione è stata l’occasione per attivare un dibattito internazionale – quasi un convegno ideale con sede in Kermes – a cui hanno aderito con entusiasmo oltre venti autori, proponendo significativi ed estesi studi in una dimostrazione esemplare d’interazione fra ricerche storico artistiche e tecnico-scientifiche. … It is with great enthusiasm that Kermes supported this initiative hosting the studies, as though these were part of a conference, ‘ideal’ in that it never took place physically, but very much real in terms of the international plurality of its contributions, presented here thanks to lively exchange of information across frontiers … This publication is the fruit of a perfect and exemplary collaboration between curators, conservators and scientists brought together from all countries… The publication here before us provides a number of answers – let us be brave and use the word ‘definitive’ – to questions which have long been an issue of debate … Comme l’affirme ici même Sheila McTighe, toute vision plus large de la pratique de Poussin doit dorénavant prendre en compte et intégrer ces nouvelles données techniques. (Pierre Rosenberg de l’Académie française, Président-directeur honoraire du Musée du Louvre) This volume of the journal Kermes devoted to the meticulous technical analysis of several works by Nicolas Poussin, reveals the wealth of knowledge acquired through the implementation of new methods of physico-chemical analysis taken together with the detailed investigation of the handling and materials deployed during the process of creating the work of art. A number of different means have been employed in order to investigate in the greatest detail the nature of a particular pigment, its impurities, the effects of the addition of a medium as well as the effects created by mixtures … (Philippe Walter, Directeur du Laboratoire d’archéologie moléculaire et structurale, CNRS-UMR 8820, Université Pierre et Marie Curie) indice/Index: speciale – NICOLAS POUSSIN. TECHNIQUE, PRACTICE, CONSERVATION a cura di Helen Glanville, Claudio Seccaroni Helen Glanville, Claudio Seccaroni Nota introduttiva dei curatori / Editors’ Introductory Note Pierre Rosenberg Du progrès en histoire de l’art / On Developments in the History of Art Philippe Walter Combiner les regards sur les œuvres de Nicolas Poussin / A Combined Vision of the Works of Nicolas Poussin Sheila McTighe Poussin’s Practice: A New Plea for Poussin as a Painter Helen Glanville Nicolas Poussin: Creation and Perception Paolo Bensi Supporti e preparazioni: aspetti delle scelte esecutive di Poussin a confronto con le tecniche pittoriche dell’ambiente romano (1620-70) Chiara Merucci, Claudio Seccaroni Qualche osservazione sui Baccanali di putti della Galleria Nazionale d’Arte Antica in Palazzo Barberini Marcia Steele Transmitted Light Infrared Imaging of Two Paintings by Poussin at the Cleveland Museum of Art David Piurek The Cleveland Museum of Art Painting Conservation. Transmitted IR Photography Setup Sophia Plender, Aviva Burnstock Technical Examination and Conservation of The Triumph of David by Nicolas Poussin Laurie Benson, Carl Villis The Crossing of the Red Sea in the National Gallery of Victoria, Melbourne John Twilley, Nicole Myers, Mary Schafer Poussin’s Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art Jean Cadogan, Stephen Kornhauser, Patricia Sherwin Garland The Crucifixion by Nicolas Poussin in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut Rikke Foulke The Holy Family with the Infant Saint John the Baptist and Saint Elizabeth Laurence de Viguerie, Philippe Walter, Helen Glanville Some Preliminary Remarks on Nicolas Poussin’s Painting Technique in L’Orage: Complementary X-ray Fluorescence and X-ray Diffraction Study Carol Woods Sawyer Discoveries Concerning Poussin’s Technique Made during the Examination and Treatment of Achilles among the Daughters of Lycomedes Characteristics of the Canvases Used by Nicolas Poussin Bibliographic References Abstracts CULTURA PER I BENI CULTURALI CSRP-The Central Scientific Restoration Project Workshop – Moscow: I metodi di restauro dei monumenti architettonici di legno in russia ARI: Il tesoro sottratto di Roma SUPSI: Studio comparativo di metodi diagnostici per la valutazione dei distacchi degli intonaci e del loro trattamento AICRAB: “Digital Humanities” alla Biblioteca Capitolare di Vercelli OPD: Avanzamenti circa il restauro dell’ Adorazione dei Magi di Leonardo da Vinci MNEMOSYNE: Riprendere le proposte di Giovani Urbani per la cura dei contesti ambientali e condizione per la duratura conservazione anche delle singole opere d’arte CCR La Venaria Reale: Campagna di documentazione dello stato di conservazione dell’opera La Bella Principessa attribuita a Leonardo da Vinci Taccuino IG-IIC: Sostenibilità della conservazione, ma oltre le mode … LA RECENSIONE Licia Vlad Borrelli, La fucina di Vulcano. I metalli nel mondo antico: storia, tecnologia, conservazione Giorgio Bonsanti Giuseppina Perusini, Simon Horsin-Déon e il restauro in Francia alla metà del XIX secolo Paolo Bensi Christoph Schölzel, Gemäldegalerie Dresden: Bewahrung und Restaurierung der Kunstwerke von den Anfängen der Galerie bis 1876 Giorgio Bonsanti Antonio Sgamellotti, Brunetto G. Brunetti and Costanza Miliani (edited by), Science and Art. The Painted Surface Giorgio Bonsanti Elena Pecchioni, Fabio Fratini, Emma Cantisani, Atlante delle malte antiche in sezione sottile al microscopio ottico / Atlas of the ancient mortars in thin section under optical microscope Deodato Tapete Maria Beatrice Failla, Susanne Adina Meyer, Chiara Piva, Stefania Ventra (a cura di), La cultura del restauro. Modelli di ricezione per la museologia e la storia dell’arte Giorgio Bonsanti