Abstract
A multi-analytical approach has been employed to investigate the painting Natura Morta (1954–1955) by Andreina Rosa (1924–2019) to assess the state of conservation and to understand more about the painting materials and techniques of this artwork, which was recently donated by the painter’s heirs to the International Gallery of Modern Art Ca’ Pesaro (Venice-Italy). A comprehensive and systematic diagnostic campaign was carried out, mainly adopting non-invasive imaging and spectroscopic methods, such as technical photography, optical microscopy, Hyperspectral Imaging Spectroscopy (HIS), fiber optics reflectance spectroscopy (FORS), External Reflectance Fourier Transform Infrared (ER-FTIR), and Raman spectroscopies. Microsamples, collected from the edges of the canvas in areas partially detached, were studied by Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy and Gas Chromatography-Mass Spectrometry (GC-MS). By crossing the information gained, it was possible to make inferences about the composition of the groundings and the painted layers, the state of conservation of the artwork, and the presence of degradation phenomena. Hence, the present study may be of interest for conservation purposes as well as for enhancing the artistic activity of Andreina Rosa. The final aim was to provide useful information for the Gallery which recently included this painting in its permanent collection.
Highlights
Andreina Rosa (1924–2019), daughter of a goldsmith and sculptor, was a renowned Venetian artist, who, besides painting, experimented with decorative and applied arts such as mosaics and lacquers
By observing the painting Natura Morta, it can be noticed that the depictions continue along the sides and the borders of the canvas present signs of raveling: such evidence suggests that originally the artwork was larger and was subsequently redimensioned on the present stretchers
Observing with the help of a UV light, traces of glue were present on the edges of the painting, probably traces of the adhesive used for lining the artwork
Summary
Andreina Rosa (1924–2019), daughter of a goldsmith and sculptor, was a renowned Venetian artist, who, besides painting, experimented with decorative and applied arts such as mosaics and lacquers. Combining artistic practice with teaching, she took part in prestigious art competitions and exhibitions, such as the Quadriennale in Rome and the Art Biennale in Venice, where she was present in all the editions between 1950 and 1970s [1,2]. After her death in 2019, some of her artworks, stored in the heirs’ households, were donated to the International Gallery of Modern Art Ca’ Pesaro in Venice (Italy), which is part of the Fondazione Musei Civici (MUVE). The research on one emblematic painting by Andreina Rosa is discussed
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