Work

Photographed and post-produced over 500 paintings; reorganized over 3,000 stored paintings; selected drawings' digital files from 22,000 to 13,500; designed catalogue records; simplified works identification method.

Conducted archival and bibliography research and interviews for artist's biography; compiled cross-referencing list of exhibitions and studios; drafted a traineeship agreement with University of Verona; supervision of student interns.

Monitoring of temperature and humidity levels in works' storage; collection conservation maintenance.

Stone elements of Palazzo Morpurgo (17th century, Udine): dry and chemical cleaning. Treatment of metal elements (paint stripping, anti-rust treatment, painting). Sanding, filling with two-component resin, and painting of window and door fixtures.

Marble clocks and copper wall sconces (19th century): cleaning and polishing.

Paintings on canvas (19th century): removal of yellowed varnish; lining with flour-paste adhesive; reconstruction of the frame's decorative motif and gilding.

Decorative wood and iron panoplies (Miramare Castle, Trieste): aqueous cleaning; wax filling and painting.

Granite grand staircase (Palazzo Paternolli, 17th century, Gorizia): deep and fine filling.

Condition Report Campaign

• Vendsyssel Kunstmuseum — Amanda Betz, cut-off paper works
• Carl-Henning Pedersen & E.A. Museum — canvas paintings and sculptures in storage
• Aalborg Kunsten — Vivian Maier, photographs
• Aarhus ARoS — Soheila Sokhanvari, watercolors on paper; routine maintenance of the permanent collection
• Horsens Kunstmuseum — Cathrine Raben Davidsen, watercolors on paper
• Tønder Kunstmuseet — modern paintings from the permanent collection

Conservation treatments: application of lining strips, filling of canvas and frame losses, varnish retouching (inpainting), and spray varnishing.

Alkyd and vinyl painting on canvas: “Untitled (Woman),” Giovanni Meloni, 1974. Thesis project. Preliminary diagnostic tests, dry cleaning, flattening of the support, consolidation, varnish retouching.

Collection Registrar (Fondazione Agiverona): biannual maintenance and condition reporting for artworks donated by Giorgio Fasol to the University of Verona.

Exhibition Registrar (ArtVerona): installation and condition reporting for the artwork *Nord, sud, est, ovest giocano a shangai* (Luciano Fabro, 1989–94).

Mixed-media installation: “A e Z aspettano l’amore” (A and Z Wait for Love), Alik Cavaliere, 1969–73. Diagnostic analysis, cleaning tests, and cleaning using pH-controlled buffer solutions.

Polychrome wooden altarpiece: “Saint Jerome among Saints”, unknown artist, 15th century. Cleaning with solvent gel, pictorial retouching.

Oil painting on canvas: “Saint Anthony Gonzaga,” G.B. Cignaroli, 17th century. Cleaning tests with solvent gel, cleaning of the reverse side.

Oil paintings on canvas: “Life of Saint Peter,” 16th-century painter. Thread-by-thread loss reconstruction, filling and mimetic retouching, tensioning and sizing of the lining canvas.

Polychrome wooden sculpture: “Madonna and Child,” 16th century. Stratigraphic analysis, consolidation of lifting paint/gesso, mechanical and chemical removal of overpainting.

Polychrome wooden panels: “Annunciation of the Virgin,” Costantino Pasqualotto, 18th century. Consolidation, anti-rust treatment of metal elements, insertion of a wooden plug (butterfly key) for the central split, filling with epoxy resin.

Oil painting on canvas: “Portrait of a Scholar,” School of Veronese, 16th century. Varnish removal, filling, pictorial retouching, varnishing. Tempera painting on panel: ex-voto tablets from the Castelvecchio Museum, 18th century. Chemical cleaning, filling of losses, and watercolor retouching.