- 著者
- 田口 かおり
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.64, no.2, pp.73-84, 2013-12-31 (Released:2017-05-22)
This paper aims to reconsider Theory of Restoration of Cesare Brandi (1963) for restoration of contemporary arts. In his Theory of Restoration, Brandi defines restoration as an intervention to a physical entity of art for the purpose of transmitting the unity of aesthetic value and historical value to the future. However, in case the artists are still alive and reject permanency of their works of art or complex, brand-new materials and anti-materials such as installation art intervenes, the act of restoration seems to have difficulty in esteem in a Brandi's theory. As a matter of fact, Theory of Restoration is known for resolving a problem of preservation and restoration of art from ancient to modern period. Its actuality in the field of contemporary art is now to be discussed. Does Brandi's theory show any possibility or limit for the intervention of contemporary arts?
- 著者
- 田口 かおり
- 出版者
- ニュー・サイエンス社
- 雑誌
- 月刊考古学ジャーナル (ISSN:04541634)
- 巻号頁・発行日
- no.738, pp.36-39, 2020-04
- 著者
- 田口 かおり
- 出版者
- 表象文化論学会 ; 2007-
- 雑誌
- 表象
- 巻号頁・発行日
- no.7, pp.248-268, 2013
- 著者
- グリフィス ロジャー 田口 かおり
- 出版者
- カルチュア・コンビニエンス・クラブ
- 雑誌
- 美術手帖 (ISSN:02872218)
- 巻号頁・発行日
- vol.73, no.1087, pp.118-122, 2021-04
- 著者
- 田口 かおり
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.67, no.2, pp.94, 2016 (Released:2018-01-01)
- 著者
- 田口 かおり
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.63, no.1, pp.183, 2012-06-30 (Released:2017-05-22)
- 著者
- 田口 かおり
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.62, no.2, pp.61-72, 2011-12-31 (Released:2017-05-22)
Cesare Brandi (1906-1988) wrote The Theory of Restoration in 1966 as an integral part of his general conception of art and there he identified the purpose and duty of restoration, which had not been fully developed in previous centuries. This research focuses on his specific theory of the reintegration of the lacunae. Brandi did not agree to a traditional method, restoring the original appearance of art by using the almost identical technique to an artist, which could end up producing a counterfeit. As an alternative, Brandi proposed the reintegration with neutral colour, in which the lacunae would be filled up with moderate colours somewhere between grey and ocher. Although quite a few restorers adopted his unique method, it gradually came to be considered inappropriate for its peculiar appearance so that it almost disappeared by the end of seventies. Slighted as a short-lived proposal, neither a true significance of an intervention with neutral colour nor Brandi's intention on this has been deeply argued. This paper treats the reintegration with neutral colour as an embodiment of Brandi's idea on respecting "time in relation to the art", and it will verify how Brandi's theory and that of his contemporaries correspond to the method of neutral colour.