La presentazione del numero speciale “Un decennio di ricostruzione post-sisma a L’Aquila”
La registrazione dell’incontro disponibile su YouTube
Artemisia Gentileschi’s Hercules and Omphale comes to Getty for conservation
On August 4, 2020, a double explosion in the port of Beirut devastated the city. One of the many damaged art objects in the building was a priceless painting by Artemisia Gentileschi.
Archaeologists restoring an ancient ISIS-destroyed monument in Mosul just found seven iIncredibly preserved Assyrian carvings buried beneath It
Some of the reliefs show soldiers shooting arrows, others are rich with grape vines, pomegranates, and palm trees
Costruir su macerie – Il Cenacolo di Leonardo nella prima metà del Novecento di Silvia Cecchini
venerdì 28 ottobre 2022 alle 17:00 – Accademia Nazionale di San Luca, Roma
Workshop tecnologico e di scambio del know-how nel campo del restauro e della ricostruzione – Beirut
Beirut (Libano) dal 29 novembre al 2 dicembre 2022
Quest’anno l’ICR partecipa alla Borsa Mediterranea del Turismo Archeologico Archaeological Tourism Exchange
Paestum dal 27 al 30 ottobre 2022
Applying Digital Documentation for Sustainable Heritage Preservation and Management
Digital documentation is widely recognized as a tool for risk management of cultural heritage exposed to disasters caused by natural hazards such as earthquakes, floods and fires as well as environmental fluctuations and war damage.
The Getty Research Portal Celebrates Its 10th Anniversary
Platform has made texts from dozens of institutions available online for free !!!
Nuova luce restituita ai rilievi lignei con “Storie della Vergine” di Palazzo Abatellis
Sono tornati in esposizione nella prima sala della Galleria Regionale di Palazzo Abatellis, a Palermo, i due preziosi rilievi lignei raffiguranti scene della “Nascita della Vergine e Presentazione al tempio” e “L’Annunciazione e Fuga in Egitto”.
A Nude That Artemisia Gentileschi Painted for Michelangelo’s House Was Covered Up Because It Was Too Racy. Now It Has Been Revealed
The 1616 painting was censored by Baldassarre “Il Volterrano” Franceschini at the behest of one of Michelangelo’s relations.