Conservation Law, Business, and Management
Post-Bac Graduate Seminar in Conservation I
Post-Bac Graduate Seminar in Conservation II
Laurea in Art History with Highest Honors, University of Florence; Dottorato di Ricerca, Art History, University of Rome. Her Phd dissertation was on the "Technique of Caravaggio: Materials and Methods." She co-directed the Caravaggio exhibitions held at the Palazzo Pitti in Florence and the Palazzo Ruspoli in Rome. She has apprenticed with Florentine restorers, worked in private studios since 1975, established an archive of technical documentation and photographs of Caravaggio's masterpieces at the Roberto Longhi Foundation in Florence; conducted computer research at the Scuola Normale Superiore in Pisa predisposing computerized programs to file documents or artworks for the Italian museums.
Since 1986, she has been teaching Conservation, Artistic Techniques and Diagnostics in specialization courses for post-graduates held at the University of Florence in the chemistry and art history departments. For the Soprintendenza dei Beni Artistici of Florence, she has catalogued and restored works of art belonging to Florentine museums, and churches.
She has written articles for exhibition catalogs, art history magazines, and critical reviews, and is the author of a book entitled Caravaggio and Optics, published in 2005.
In 2007, she was awarded the Gold Cross of the Knights of Malta at the Nunnery of St. Ursula at Valletta.
Caravaggio and Optics
Meridionale: L’eredità tecnica del Caravaggio
a Napoli, in Sicilia e a
Paperback, 196 pages
Il Prato, 2009
|Nuove scoperte sul Caravaggio
Emanuela Massa, Roberta Lapucci, Anna Mazzinghi, Anna Pelagotti
Paperback, 20 pages
Servizi Editoriali, Firenze, 2009
Caravaggio and the Science of Light
Minniti Baptism: A "Signed" Masterpiece
The Zejtun Painting: Shades of Caravaggio
Roberta in the news
Students come to SACI, Florence in order to develop their sensorial capability to recognize, distinguish and treat antique materials in the same way the Florentine artists did in the past with such great results.
This is the basis of the Italian approach to conservation: a traditional and conservative one, which tries to rely less on scientific methods, while respecting the Anglo-Saxon approach to conservation.
In Italy we consider it essential to test new scientifically produced substances for at least twenty years before we consider them safe. Only recently have we been able to see how much damage has been done by the introduction of plastics (acrylic and vinyl) in the 1960’s and 1970’s.
Our main ethical principles are that any restoration must be first of all “reversible” (anyone in the future will be able to remove what we do), evident (we do not have the same ability as Michelangelo or Leonardo Da Vinci), compatible (physically, chemically and aesthetically) and done to the minimum level necessary (we try to cure and not to perform radical surgery).