RIPARARE L'ARTE

The theory of restoration evolved by Cesare Brandi was directly concerned with the work of art; the philosophical basis of his teaching was the recognition of the work of art as such. There are however a great many areas today in which we would encounter considerable difficulty trying to apply a the...

Full description

Saved in:
Bibliographic Details
Published in:OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze 1997-01 (9), p.109-71
Main Author: Bonsanti, Giorgio
Format: Article
Language:Italian
Subjects:
Note di restauro
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
cited_by
cites
container_end_page 71
container_issue 9
container_start_page 109
container_title OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze
container_volume
creator Bonsanti, Giorgio
description The theory of restoration evolved by Cesare Brandi was directly concerned with the work of art; the philosophical basis of his teaching was the recognition of the work of art as such. There are however a great many areas today in which we would encounter considerable difficulty trying to apply a theory based on this primary recognition, beginning with architecture and archaeology, and going on with the book, photography, the cinema, and scientific instruments. It seems the right moment to reconsider Brandi's statement on the recognition of the work of art, according to which the concept of restoration is to be regarded not from the point of view of its practical procedures, but from the point of view of the concept of the work of art. In fact, a more useful theory in the context of today would acknowledge as the common denominator of restoration the attitude of the restorer, independent of the characteristics of the object to be restored: an attitude based on the spirit of research, and grounded in the highest professionalism.
format article
fullrecord <record><control><sourceid>jstor</sourceid><recordid>TN_cdi_jstor_primary_24394789</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><jstor_id>24394789</jstor_id><sourcerecordid>24394789</sourcerecordid><originalsourceid>FETCH-jstor_primary_243947893</originalsourceid><addsrcrecordid>eNpjYuA0MjK21DU3Mo5gYeA0NDQy0DUyNTTmYOAtLs4yAAJTEwtDY0NOBv4gzwDHIMcgVwUfdcegEFceBta0xJziVF4ozc0g6-Ya4uyhm1Vckl8UX1CUmZtYVBlvZGJsaWJuYWlMSB4AQ5Uirw</addsrcrecordid><sourcetype>Publisher</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>RIPARARE L'ARTE</title><source>JSTOR Archival Journals and Primary Sources Collection</source><creator>Bonsanti, Giorgio</creator><creatorcontrib>Bonsanti, Giorgio</creatorcontrib><description>The theory of restoration evolved by Cesare Brandi was directly concerned with the work of art; the philosophical basis of his teaching was the recognition of the work of art as such. There are however a great many areas today in which we would encounter considerable difficulty trying to apply a theory based on this primary recognition, beginning with architecture and archaeology, and going on with the book, photography, the cinema, and scientific instruments. It seems the right moment to reconsider Brandi's statement on the recognition of the work of art, according to which the concept of restoration is to be regarded not from the point of view of its practical procedures, but from the point of view of the concept of the work of art. In fact, a more useful theory in the context of today would acknowledge as the common denominator of restoration the attitude of the restorer, independent of the characteristics of the object to be restored: an attitude based on the spirit of research, and grounded in the highest professionalism.</description><identifier>ISSN: 1120-2513</identifier><identifier>EISSN: 2239-723X</identifier><language>ita</language><publisher>Centro Di</publisher><subject>Note di restauro</subject><ispartof>OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze, 1997-01 (9), p.109-71</ispartof><rights>Copyright 1989 Centro Di della Edifimi srl</rights><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/24394789$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/24394789$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>314,777,781,58219,58452</link.rule.ids></links><search><creatorcontrib>Bonsanti, Giorgio</creatorcontrib><title>RIPARARE L'ARTE</title><title>OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze</title><description>The theory of restoration evolved by Cesare Brandi was directly concerned with the work of art; the philosophical basis of his teaching was the recognition of the work of art as such. There are however a great many areas today in which we would encounter considerable difficulty trying to apply a theory based on this primary recognition, beginning with architecture and archaeology, and going on with the book, photography, the cinema, and scientific instruments. It seems the right moment to reconsider Brandi's statement on the recognition of the work of art, according to which the concept of restoration is to be regarded not from the point of view of its practical procedures, but from the point of view of the concept of the work of art. In fact, a more useful theory in the context of today would acknowledge as the common denominator of restoration the attitude of the restorer, independent of the characteristics of the object to be restored: an attitude based on the spirit of research, and grounded in the highest professionalism.</description><subject>Note di restauro</subject><issn>1120-2513</issn><issn>2239-723X</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>1997</creationdate><recordtype>article</recordtype><sourceid/><recordid>eNpjYuA0MjK21DU3Mo5gYeA0NDQy0DUyNTTmYOAtLs4yAAJTEwtDY0NOBv4gzwDHIMcgVwUfdcegEFceBta0xJziVF4ozc0g6-Ya4uyhm1Vckl8UX1CUmZtYVBlvZGJsaWJuYWlMSB4AQ5Uirw</recordid><startdate>19970101</startdate><enddate>19970101</enddate><creator>Bonsanti, Giorgio</creator><general>Centro Di</general><scope/></search><sort><creationdate>19970101</creationdate><title>RIPARARE L'ARTE</title><author>Bonsanti, Giorgio</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-jstor_primary_243947893</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>ita</language><creationdate>1997</creationdate><topic>Note di restauro</topic><toplevel>online_resources</toplevel><creatorcontrib>Bonsanti, Giorgio</creatorcontrib><jtitle>OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Bonsanti, Giorgio</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>RIPARARE L'ARTE</atitle><jtitle>OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze</jtitle><date>1997-01-01</date><risdate>1997</risdate><issue>9</issue><spage>109</spage><epage>71</epage><pages>109-71</pages><issn>1120-2513</issn><eissn>2239-723X</eissn><abstract>The theory of restoration evolved by Cesare Brandi was directly concerned with the work of art; the philosophical basis of his teaching was the recognition of the work of art as such. There are however a great many areas today in which we would encounter considerable difficulty trying to apply a theory based on this primary recognition, beginning with architecture and archaeology, and going on with the book, photography, the cinema, and scientific instruments. It seems the right moment to reconsider Brandi's statement on the recognition of the work of art, according to which the concept of restoration is to be regarded not from the point of view of its practical procedures, but from the point of view of the concept of the work of art. In fact, a more useful theory in the context of today would acknowledge as the common denominator of restoration the attitude of the restorer, independent of the characteristics of the object to be restored: an attitude based on the spirit of research, and grounded in the highest professionalism.</abstract><pub>Centro Di</pub></addata></record>
fulltext fulltext
identifier ISSN: 1120-2513
ispartof OPD restauro : quaderni dell'Opificio delle pietre dure e laboratori di restauro di Firenze, 1997-01 (9), p.109-71
issn 1120-2513
2239-723X
language ita
recordid cdi_jstor_primary_24394789
source JSTOR Archival Journals and Primary Sources Collection
subjects Note di restauro
title RIPARARE L'ARTE
url http://sfxeu10.hosted.exlibrisgroup.com/loughborough?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-01-17T16%3A45%3A54IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-jstor&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=RIPARARE%20L'ARTE&rft.jtitle=OPD%20restauro%20:%20quaderni%20dell'Opificio%20delle%20pietre%20dure%20e%20laboratori%20di%20restauro%20di%20Firenze&rft.au=Bonsanti,%20Giorgio&rft.date=1997-01-01&rft.issue=9&rft.spage=109&rft.epage=71&rft.pages=109-71&rft.issn=1120-2513&rft.eissn=2239-723X&rft_id=info:doi/&rft_dat=%3Cjstor%3E24394789%3C/jstor%3E%3Cgrp_id%3Ecdi_FETCH-jstor_primary_243947893%3C/grp_id%3E%3Coa%3E%3C/oa%3E%3Curl%3E%3C/url%3E&rft_id=info:oai/&rft_id=info:pmid/&rft_jstor_id=24394789&rfr_iscdi=true