Completing an internship: 5 points

 

    This summer, through the Alliance of HBCU Museums & Galleries, I interned at the NYU Villa in Florence, Italy. The Post SIP-C program at the Villa La Pietra was more than I would have ever dreamed of. I have been working towards a career in conservation since my SIP-C program during the summer between my freshman and sophomore years. My goal for participating in the Post SIP-C program was to learn more about the conservation of archaeological materials, as well as to understand the differences between American and Italian conservation practices.
    The first leg of the program focused on paintings, working with Jean Dommermuth, Kyle Norris, and Elizabeth Torres; the second leg focused on objects, working with Jack Soultanian, Jennifer Kim, and Claire Misko.
    On the first day with the painting cohort, we conducted visual research on the paints. We worked on two paintings, The Lady in Red and The Lady in Blue. I worked with Kyle on the Lady in Red painting. The first step was to note any signs of damage. There was paint loss scattered around the surface, ranging in size. We also tested the painting using ultraviolet and infrared lights, which indicated that it had been retouched at some point.    
    My job was to date the painting and attempt to identify the painter. Initially, it was dated between the 17th and 18th centuries. The only way to date the painting was through the lady’s clothing, which was perfect for me because I am fascinated with fashion history. I spent days researching her silhouette and the mask in her hand. Based on the clothing material, the silhouette, the mask in her hand, the woman’s hairstyle, and her makeup, I was able to narrow down the painting's date to between the 1680s and 1700s. I mostly narrowed it down because all these elements were too late for the Tudor style, but too early for the Rococo style. There was no evidence to definitively identify the painter. Francesca Baldry, the collection manager of the Villa, gave us a tour of the Villa, explaining the attitude behind treatment and displaying items. The Villa was initially owned by the Actons, who collected artwork during their time living there. Therefore, when treating items, the Villa wants them to appear in the same condition as they did when the family lived there. We also visited the 1920s exhibit, curated by Baldry, which featured pictures of the Actons, mannequin heads with flapper hats, and a gramophone with records.

    Francesca also took all of us to Villa Bardini, where we toured Caravaggio and the 20th Century: Roberto Longhi, Anna Banti. It was my first time hearing the name Caravaggio and connecting him to his paintings, but the mastery and details within his paintings were exquisite. Additionally, the story of Roberto Longhi and Anna Banti was so enthralling. They were a couple whose connections with artists and writers transformed 20th-century Italian culture, which the exhibition showed through pictures, writings, and paintings.
    Our second leg of the internship centered on objects and sculptures. The two objects we worked on were Santo Anacoreta, a polychrome wood sculpture, and Daniele and Two Lions, a polychrome and gilded wood sculpture. We started with condition photos and worked with painting conservator Francesca Spagnoli on testing treatments. Claire and Jennifer made different adhesives, such as rabbit glue, for later testing. The next day, we went through the rooms, surveying wooden sculptures for future microscopy testing. Through the survey, Jack showed the distinctions between wooden and polychrome sculptures, as well as the details that revealed the date of some sculptures. On our last day, we took the train to Lucca. We visited the Duomo di San Martino, where Francesca Spagnoli was conducting ongoing treatment on the Volto Santo, a significant religious relic for the city of Lucca. We discussed the painting layers, the statue's history, and the overall success of her treatment. We also toured the Cathedral of San Martino, which houses the Volto Santo, noting sections within the church that had been restored or altered from the original.
    There are not enough words to describe how amazing and meaningful this experience was for me. I worked at a villa in Italy, surrounded by the work of famous artists, alongside people who loved what they did and took great pleasure in sharing their knowledge. Italy does not owe me anything! If I could redo the experience, I would do it the same way. The experience was so incredible that for the first time since I decided to become a conservator, I have considered and researched getting my master's in conservation abroad. I would recommend Post SIP-C to any student interested in conservation.

By Lauren Broussard