A Verona, presso la sede del
CIRCOLO DELLA ROSA
via San Felicita, 13 – 37121 Verona
Telefono: 045 8010275 – E-mail: info@circolodellarosavr.org
Giovedi’ 11 Maggio 2006 ore 18.30
ANNUNZIATA
di Antonello da Messina
Nadia Scardeoni ci parlera’ del suo grande amore per questo quadro che ha prodotto una serie di riflessioni e studi:
“Maria di Antonello” e “Restauro virtuale”,
due letture di Nadia Scardeoni
In collaborazione con ANISA Verona
anisaverona e http://donnesenzadominio.splinder.com
retedonnesenzadominio
BTA
http://www.bta.it/col/a0/01/coll0112.html
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nadia scardeoni: “restauro virtuale” online
patrimoniosos.it
in difesa dei beni culturali e ambientali
http://restaurovirtuale.splinder.com
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37126 Verona, Via dei Mille 6A
email mjlab@alice.it
tel 045 8347701 – 3472542819
work in progress
http://www.nadiascardeoni.com
http://www.bta.it/txt/a0/04/bta00411.html
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http://www.bta.it/txt/a0/04/bta00411.html
Il restauro virtuale dell’Annunziata di Antonello da Messina
Annunziata
“The pensive Sicilian child shrouds herself in an Arabian shawl that frames and casts shadow upon
her marble-like face; her deep black velvet eyes cloud with listlessness and languor below her silken eyelids, gently touched by a flicker of light; slight wrinkles at the corners of her nose and lips perfectly complement the gentle squinting of her eyes, shielded from an unexpected flash of light.
A shadow cuts across her brow and falls on the left cheek, darkening her neck and making its dark
shadow stand out against the luminous contour of the chin, right cheek, and a few brilliant strands of her raven hair.”
(Excerpt from Venturi, 1915)
Adolfo Venturi’s critique of the Annunziata, from an edition of the art series published by Rizzoli in 1952, was an exceptional and unexpected gift, erasing the last doubts about my analysis of Antonello da Messina’s masterpiece.
Six years ago during the course of my studies, I began to search for a new method that could restore the image, at least virtually, to its original state, as it was painted by Antonello. My method of “virtual restoration” sprang forth from this necessity, and I presented it to various institutional bodies appointed to the protection and conservation of works of art.
Finally, to begin the process of evaluating the necessity of an actual restoration, I have created a survey on the web with which readers can express their opinions:
http://www.nadiascardeoni.com
This new study of Antonello’s masterpiece, thanks to the second reading of Adolfo Venturi’s critique, doesn’t just corroborate my old thesis, but perfects my long journey in pursuit of the Annunziata, with an unhoped-for delicateness. It is almost as if my long contemplation of the image, mother of inexpressible silences of the mind and heart, was able to evoke, through gentle motherly coaxing, its true face.
Nadia Scardeoni
Verona, 24 October 2005
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