At CASVA I explored how best to address this gap and make marble sculptural restoration understandable to a wide audience.
One such case study will be the celebrated Barberini Faun (Glyptothek, Munich). The complex restoration history of the statue, reflecting shifting attitudes toward antiquity, can be documented through visual examination, contemporary illustrations, and archival evidence. The statue underwent three major restorations. The first, undertaken in 1627 by Arcangelo Gonelli, reimagined the ancient marble fragment as a sleeping
Taking advantage of the extensive literature and expertise available at CASVA and the National Gallery of Art, my initial work focused on major technical issues involved in
Surface, or what was called
The arrival of the Elgin marbles in Britain in the early nineteenth century triggered debate about the long-canonical practice of sculptural restoration and its role in the preservation of the past. At the time, the sculptor Richard Westmacott defended restoration as technically more difficult than sculpting a new work, but even he could not dispel the fundamental questions about authenticity, originality, and beauty that restoration poses for art.