The Curators’ Quaderno - The Search for Violante
The Search for Violante in Florence. Issue 5 of The Curators’ Quaderno follows the restoration of three devotional paintings attributed to eighteenth-century painter Violante Siries, at Certosa di Firenze, a vast monastery in Tuscany. Violante’s Reading Madonna, a rare, highly damaged altarpiece is a mysterious commission for a Grand Tour female artist, even of her calibre. Conservators and scholars embark on a multi-faceted search for these paintings’ attributions. They scour the archives and safeguard the paintings’ future in a restoration laboratory in the Santa Croce district, to determine whether these attributions match the painter’s hand. The Curators’ Quaderno is a collection of notebook-style publications, conceived by Calliope Arts, in collaboration with The Florentine and Restoration Conversations, to raise awareness of women’s contributions to the fields of art, science and culture.
The Search for Violante in Florence. Issue 5 of The Curators’ Quaderno follows the restoration of three devotional paintings attributed to eighteenth-century painter Violante Siries, at Certosa di Firenze, a vast monastery in Tuscany. Violante’s Reading Madonna, a rare, highly damaged altarpiece is a mysterious commission for a Grand Tour female artist, even of her calibre. Conservators and scholars embark on a multi-faceted search for these paintings’ attributions. They scour the archives and safeguard the paintings’ future in a restoration laboratory in the Santa Croce district, to determine whether these attributions match the painter’s hand.
The Curators’ Quaderno is a collection of notebook-style publications, conceived by Calliope Arts, in collaboration with The Florentine and Restoration Conversations, to raise awareness of women’s contributions to the fields of art, science and culture.
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the
curators’
quaderno
“Without restoration, these three devotional works would never have
reached the public eye. If art is unseen and unknown, it does not
‘exist’ in the collective consciousness, which is true of all artwork not
universally recognised. This project creates a virtuous circle and its
purpose is twofold: to restore three works to their original dignity and
to spark public interest so that people will start asking themselves, ‘Are
there other works by Violante Siriès waiting to be found? How many
treasures are hiding at the Certosa di Firenze monastery?’ Questions
such as these are equally relevant in thousands of private and public
cultural venues throughout Italy. These restored paintings are the first
step in a long journey at the monastery, as the public sees artwork
attributed to Violante and gains greater knowledge of her life and
oeuvre. In this way, her contributions to the art world will enter our
hearts, as we explore the plethora of little-known devotional works that
form part of Tuscany’s artistic fabric and the cultural context in which
masterpieces of worldwide acclaim were created.”
22
Graziella Cirri
Art historian and curator
Superintendency for Archaeology, Fine Art and Landscape for the
Metropolitan City of Florence and the Provinces of Pistoia and Prato
(SABAP)
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