The group of material characterization of heritage at the Department of Analytical Chemistry of the University of Barcelona, led by professor José Francisco García, and the Department of Preventive Conservation from the Museu Picasso with Reyes Jiménez and the assistance of Anna Vélez, have started the development of the study “Early stages of Picasso through material characterization of different portraits” within the framework of the European project CHARISMA (Cultural Heritage Advanced Research Infrastructures). This project has been coordinated by Dr. B. Brunetti from the University of Perugia, which has facilitated the use of the mobile laboratory MOLAB.
On February 28th the Museu Picasso organised a seminar entitled The pastel technique: specificities of its conservation and restoration.
This autumn we are carrying out various changes in the works of the Collection both of the paintings as well as the works on paper. Due to questions of preventive conservation it is important to change the works on paper every three months: in this way, and given the fact that we have a very large collection of these works, the rotational system lets us see the various works that Picasso did in this format, at the same time as applying suitable criteria for the conservation of works on paper.
The presentation of the process of restoring the Palau Aguilar’s 16th-century polychrome printed wallpaper recovered in 2010 (see the article on the website) was a perfect opportunity for a professional get-together on Monday the 12th.
The director of the Museu Picasso, Pepe Serra, opened the conference with a reminder of the important contribution made by technical expertise (materials, creative processes, etc) in the documentation not only of the museum’s collections and also of its buildings.
If the invention of the lead tube as a container for oil paint enabled the Impressionists to get out of the studio and work in the open air, capturing nature at first hand, the use of industrially manufactured paint provided the ultimate freedom to the artists of the early twentieth century.
Under the title From Can to Canvas, an international colloquium was held in Marseille last May at which restorers and conservators from Europe and America got together to discuss non-traditional painting materials and techniques, putting forward an alternative, complementary vision of the history of art based on the study of the creative process.
Picasso’s development as a printmaker was extraordinary, and as in other areas of his art he crossed boundaries and broke new ground, radically transforming the traditional techniques and stylistic conventions of the medium.
The selection of lithographs on show in the Museum’s Prints Rooms under the title “Picasso, Lithographs” is a great opportunity to delve more deeply into the techniques of visual expression by way of the graphic arts.
When a temporary exhibition closes, the work doesn’t stop there. Have you ever wondered what happens when a show is over? The people responsible for dismantling our exhibitions explain the many things that have to be done.
ISABEL CENDOYA – Exhibitions Coordinator
Taking down an exhibition involves two weeks of intense work: checking the condition of the pieces, taking them off the walls or out of their display cases and packing them securely for transport. At the same time, it also means the end of a process, of a project to which you have devoted many hours of effort, and saying goodbye to objects you have probably been living with for weeks and months. Read more »