L'amaro caso del Dimetilsolfossido.... Ovvero, dove sta andando l'opera d'arte, la sua conservazione, la ricerca scientifica che la riguarda?

Abstract

The simple fact of use a solvent in restoration can represent, exemplary, the complexity of approaching works of art conservation. In this particular historical period, the own meaning of the work of art is slightly cloudy, thus, inevitably, our approach to conservation is confuse. To be able to appreciate the work of art and, at the same time, be able to guarantee its structural integrity, are requirements frequently difficult to conciliate. Too often, our focus on cultural heritage is based, only, on the restoration treatment and become exhausted in itself: it lacks attention to the environmental conditions prior to intervention and, it is needed, maintenance programs, afterwards. Cleaning, the most frequent treatment on polychrome works of art and, maybe, the most irreversible one presents such a highly risk factor that demands a pause for reflection: we should reconsider the intervention, its needs, its materials; we should reconsider our expectations.