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The
decorations of the cavea of the new Fenice
(Venice 2002-2003)
Painting the decoration of the auditorium is an integral part
of a whole which combines intersecting, mutually complementary
painting and gold reliefs. Sculptors, engravers, and experts
in papier-mâché and gold leaf have worked patiently
on the reconstruction.
We have painted the ceiling decorations, the proscenium and
the parapets of the boxes. The surfaces of the pepiano (the
first order of boxes) and the inside of the royal box were decorated
by other artists.
We also created a series of preparatory studies:
- a digital model of the vault
- a relief model on a 1:10 scale
- a general reconstruction of the ceiling decoration
- a 1:1 scale drawing of all the pictorial and plastic elements
of the vault.
The
documentation - The
sketches and original colours - The
workshop - Creating the ceiling
Painting the boxes and proscenium
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The
sketches and original colours
The photographs did not clearly show the colours.
Everything had to be rethought. The new theatre would
not be identical but would be an evocation of the original.
The subdued, homogenous colours of the old auditorium
were due to the effects of time and the new colours could
not imitate the veil that covered them; the patina would
only develop over the course of the years.
Mauro Carosi's sketches reflected this compromise. They
were the result of much patient analysis, using clues
more than facts, a philological reconstruction combined
with the scenographer's experience and skill. His designs
were essential to harmonise the work of the various different
studios that worked on the gold relief work, painting
and textiles.
The
workshop
In 1854, at the time of Meduna, the decorators worked
inside the auditorium, inaugurated seventeen years earlier
following the fire of 1836.
In the spring of 2002, the situation was different. The
temporary business association, led by SACAIM, was due
to consign the completed theatre by 14 December 2003.
There was very little time.
The decorative work was going to take too long. The work
schedule only allowed forty days at most to paint the
ceiling, plus a short period to apply the papier-mâché.
Thus, it was decided to carry out part of the work externally
in order to reduce the activity within the cavea to a
minimum. Most of the decorative work would be produced
in the studio while the surfaces to which they were to
be applied were being reconstructed. This required unusual
techniques and organisational solutions .
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Creating
the ceiling
The decorations cover an area of almost 280 square metres
and the work was organised on a geometric plan that defined
the dimensions and location of every element.
Working outside the theatre required a very careful preparatory
phase, since once completed, there was very little possibility
for modifications.
The
new surface of the vault - In July 2002
we began to reconstruct the design of the decorations
while the ceiling was still being rebuilt.
In order to measure the curve of the plaster, we created
a simplified 3-D model based on measurements made during
the general project. The digital simulation included calculations
and the distribution of the centres for the structure
of the vault. These data were used to construct a 1:10
scale model. The designs of the decorations were then
mounted onto the model in order to verify them. At the
same time, the builders placed the construction project
over the digital model and began the work.
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The
new decorative composition - The composite
plan for the ceiling and the result of a series of geometric
devices that Meduna used to accentuate the effect of roundness
and depth. Designs were based on two forms the horse-show
shaped plan for the perimeter and the circle for the central
part. All the decorative elements are developed according
to repetitions of one or the other form.
The new composition faithfully reproduces the original
scheme, which was reconstructed using photographs of the
whole ceiling .
The executive designs - Although the reconstruction
of the general scheme did not encounter any particularly
difficulties, thanks to a good number of images, designing
the details often required a certain amount of "deduction":
the analysis of the clearer details, an examination of
the style and the recurring characters, applying these
to the parts which were not documented. By following this
principle and dividing the area into squares, the ornamentation
and figures were redesigned on a 1:1 scale.
The painting and plastic decorations on the ceiling are
all components of a single design. As well as the pictorial
parts, we have also reconstructed and brought together
the designs of the decorations and reliefs modelled by
the sculptors into forty actual-sized plates. |
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Painting
in the studio - Parts of the painting were done on
canvas. Apart from greater definition for the details
of the larger elements, the same techniques were used
as for scene painting. |
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Painting
in the theatre - The painting work done in the theatre
also required preliminary work in the studio. The pattern
of concentric circles on the former ceiling and the colours
making up the gradations have been verified and then used
in the first phase of painting the ceiling.
The same criterion was used for painting the decoration
of golden foliage covering the former background. In this
case, an enormous "stamp" was created, which
recreated to entire design to the original scale. Once
in the theatre, the various sections were used to quickly
transfer the designs onto the ceiling. The painting used
the usual techniques: a golden outline painted with a
brush. |
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