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My portfolio - Illustrations of my works | Restart by Maria Libera Rosa.
Welcome to my portfolio. Discover my restoration works of artworks and cultural heritage. My portfolio showcases restoration projects that preserve the beauty of artistic heritage.
Conservazione e Restauro della facciata e atrio della Chiesa della Santissima Annunziata di Aversa
Cantiere di conservazione e restauro della facciata settecentesca secondo il progetto di F. A. Picchiatti della chiesa della Santissima Annunziata (1320) e degli stucchi presenti anche nell’ampio pronao con motivi floreali e puttini realizzati da Pietro Scarola nel 1698.
Le operazioni di restauro hanno previsto: descialbo, pulitura, eliminazione delle erbe infestanti o nocive con diserbanti ed erbicidi, consolidamento superficiale ad iniezione, consolidamento di profondità, stuccature di profondità e finali.
Le operazioni di restauro hanno previsto: descialbo, pulitura, eliminazione delle erbe infestanti o nocive con diserbanti ed erbicidi, consolidamento superficiale ad iniezione, consolidamento di profondità, stuccature di profondità e finali.
Alfeo Restauri Conservazione e Restauro BB. CC. & Opere d’Arte
Tirocinio svolto presso la ditta Alfeo Restauri nel cuore di Aversa città normanna in provincia di Caserta in un laboratorio di circa 100 mq sito in un edificio del 1700, affrescato e ricco di storia, doverosamente attrezzato per la conservazione e restauro.
Si è operato su opere lignee policrome e/o dorate ma anche su manufatti cartacei, lapidei, affreschi e dipinti murali.
Si è operato su opere lignee policrome e/o dorate ma anche su manufatti cartacei, lapidei, affreschi e dipinti murali.
Egyptian sarcophagi at the National Archaeological Museum of Naples
Conservation restoration of the Egyptian sarcophagi in the Picchianti, Borgia, and Stevens collections housed at the MANN. The sarcophagi of the 'yellow coffin' type from the end of the 21st - beginning of the 22nd dynasty (959-924 BC) and some from the Ptolemaic period (305 BC to 30 BC) were restored. The restoration work included cleaning, securing the paint film, consolidation, and material and paint integration
Archaeology and Cultural Heritage of land and sea. Protohistoric site of Vivara, Island of Procida
At the summer training school/archaeological internship at the protohistoric site of Vivara (with settlements dating back to the 17th century BC, Bronze Age), the main activities included excavation, mapping, geolocation of the site, screening and flotation, on-site emergency interventions for ceramic artifacts and micro-excavation, dry cleaning and washing, labeling, graphic and photographic documentation, diagnostics, new technologies and restoration of archaeological ceramics
PLART Foundation/Museum - Plastic and Art
Due to the unique value of its collection, in 2009 Plart was recognized by the Campania Region as a Regional Museum of interest. Since 2010, it has been part of the network of Italian Design Deposits established by the Milan Triennale - Design Museum. Since 2020, Plart has been included in the "Places of Contemporary Art" project promoted by the General Direction of Contemporary Creativity of the Italian Ministry of Culture, for mapping and promoting the network of contemporary art places in Italy.
Activities carried out:
Conservation reporting and assessment of the conservation status of synthetic material objects. Historical-artistic research and dating of industrial design artifacts. Preliminary restoration tests. Cleaning, paint reintegration, disinfection, and consolidation interventions for plastic objects. Condition report.
Activities carried out:
Conservation reporting and assessment of the conservation status of synthetic material objects. Historical-artistic research and dating of industrial design artifacts. Preliminary restoration tests. Cleaning, paint reintegration, disinfection, and consolidation interventions for plastic objects. Condition report.
Polychrome and gilded wooden sculpture in "estofado" style, late 16th century - Naples.
Restoration of a polychrome and gilded wooden sculpture depicting a Christ the Redeemer dating back to the late 16th century, belonging to the Moral Entity Suor Orsola Benincasa.
The restoration included the consolidation of the paint layer through the use of synthetic adhesives and animal glue, cleaning with removal of 17th-18th century overpaint, interim varnishing with synthetic varnish, material and paint integration with watercolor and varnish.
The restoration included the consolidation of the paint layer through the use of synthetic adhesives and animal glue, cleaning with removal of 17th-18th century overpaint, interim varnishing with synthetic varnish, material and paint integration with watercolor and varnish.
Mapping, 3D digitization, and reconstruction hypothesis of an artwork undergoing restoration.
Project drawings for the restoration of a polychrome and gilded wooden sculpture depicting a Christ Redeemer dating back to the end of the sixteenth century belonging to the Suor Orsola Benincasa Moral Institution.
The mapping work was carried out to assess the conservation status of the sculpture under restoration. Based on the different patterns, it was possible to identify the present degradation and report the diagnostic investigations carried out.
The survey was carried out using structured light 3D scanning with the Artec Eva 3D portable scanner.
The mappings also document the intervention techniques carried out for the restoration of the artwork.
In order to enhance the value of the wooden artwork under restoration, a digital modeling and reconstruction activity of the original decorative apparatus of the chapel where the sculpture was placed was initiated through digital photogrammetric survey and documentary sources.
The mapping work was carried out to assess the conservation status of the sculpture under restoration. Based on the different patterns, it was possible to identify the present degradation and report the diagnostic investigations carried out.
The survey was carried out using structured light 3D scanning with the Artec Eva 3D portable scanner.
The mappings also document the intervention techniques carried out for the restoration of the artwork.
In order to enhance the value of the wooden artwork under restoration, a digital modeling and reconstruction activity of the original decorative apparatus of the chapel where the sculpture was placed was initiated through digital photogrammetric survey and documentary sources.
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