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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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“Saint Agnes was severely damaged by

the gradual but continuous movement

of the canvas support, which resulted in

the embrittlement of its glue and gesso

ground layers, causing conspicuous

craquelure on the painted surface.

Darkened by atmospheric deposits, these

cracks interfered with the painting’s visual

integrity and the viewer’s perception of

its colour scheme, preventing a precise

reading of the work’s technical and

stylistic features.”

Marina Vincenti

26Conservator

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